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/-I i I'. i. Letters of, Collected and 
1 •' by La Mara, I ranslated by 0. 

n. 2 vols, thick cr. 8vo, 



VOL. I. 









Wl\x.\) a Portrait. 

VOL. I. 












XZo tbe /iftemon? of 





C. B. 


IN writing a few words of Preface I wish to express, 
first and foremost, my appreciation of the extreme 
care and conscientiousness with which La Mara has 
prepared these volumes. In a spirit of no less rever- 
ence I have endeavoured, in the English translation, 
to adhere as closely as possible to all the minute 
characteristics that add expression to Liszt's letters : 
punctuation has, of necessity, undergone alteration, 
but italics, inverted commas, dashes and other marks 
have been strictly observed. It may be objected that 
unnecessary particularity has been shown in the trans- 
lation of various titles, names of Societies or news- 
papers, quotations, etc. ; but there are many people 
who, while understanding French, do not read German, 
and vice versa, and therefore it has seemed better to 
translate everything. Where anything has been omitted 
in the printed letters I have adhered to the sign . — . 
employed by La Mara to indicate the hiatus. It has 

viii PREFACE. 

seemed best to preserve the spelling of all proper 
names as written by Liszt, and not to Anglicise any, 
as it is impossible to do all) and therefore, even at the 
risk of a seeming affectation, the original form of the 
name has been preserved. In the same spirit I have 
adhered to the correct form of the name of our adopted 
composer Handel, and trust I may be pardoned for so 
doing on the strength of a little joke of Liszt's own : 
" The English," he said, " always talk about Gliick 
and Handel \" 

La Mara says in her Preface that this collection can 
by no means be considered a complete one, as there 
must exist other letters — to Liszt's mother, to Berlioz, 
Tausig, etc. — which it is hoped may yet be some day 
forthcoming. In like manner might there not also be 
letters to his daughter Madame Ollivier (not to mention 
his still-living daughter Madame Wagner) ? * 

The English edition is increased by four letters : 
one to Peter Cornelius, No. 256A in Vol. L, which is 
interesting in its reference to the " Barbier" ; and, in 
Vol. II., a kind letter of introduction which the Master 
gave me for Madame Tardieu, in Brussels ; one letter 
to Walter Bache, and one to the London Philharmonic 
Society (Nos. 370A and 37013) ; one of these, it is 
true, is partially quoted in a footnote by La Mara, 
but at this distance of time there is no reason why 
these letters should not be inserted entire, and they 

* Another volume of Liszt's letters, of a still more intimate 
character, addressed to a lady friend, will be published later on. 


will prove of rather particular interest, both to my 
brother's friends, and also as having reference to that 
never-to-be-forgotten episode — Liszt's last visit to 

This visit, which took place in 1 886, a few months 
before the Master's death, was for the purpose of his 
being present at the performance of his Oratorio of 
St. Elizabeth (see Letter 370 and subsequent letters). 
More than forty years had elapsed since Liszt's 
previous visit to our shores ; times had changed, and 
the almost unknown, and wholly unappreciated, had 
become the acknowledged King in a realm where 
many were Princes. Some lines embodying in words 
England's welcome to this king — headed by a design 
in which the Hungarian and the English coats-of-arms 
unite above two clasped hands, and a few bars of a 
leading theme from the St, Elizabeth — were written 
by me and presented to Liszt with a basket of roses 
(emblematic of the rose miracle in the Oratorio) tied 
with the Hungarian colours, on his entrance into 
St. James's Hall on April 6th, 1886. 

As a memento of that occasion it has been chosen 
as frontispiece to the Second Volume. 


London, December 1893. 


i. To Carl Czerny in Vienna. December 23rd, 1828 . 

2. „ De Mancy in Paris. December 23rd, 1829 

3. ,, Carl Czerny. August 26th, 1830 

4. ,, Alphonse Brot in Paris. Beginning of the 30th year 

5. ,, Pierre Wolff in Geneva. May 2nd, 1832 . 

6. „ Ferdinand Hiller. June 20th, 1833 . 

7. ,, AbbedeLamennais, La Chenaie. January 14th, 1835 

8. ,, Liszt's Mother. 183- 

9. „ Abbe de Lamennais. May 28th, 1836 

10. ,, Lydie Pavy in Lyons. August 22nd, 1836 

11. ,, AbbedeLamennais. December 1 8th, 1837 

12. ,, Breitkopf and Hartel in Leipzig. April 5th, 1838 

13. ,, Robert Schumann in Leipzig. Ma}', 1838. 
14.' ,, the " Gesellschaft der Musikfreunde " in Vienna 

June 1st, 1838 

15. ,, Simon Lowy in Vienna. September 22nd, 1838 

16. ,, Pacini in Paris. September 30th, 1838 

17. ,, Breitkopf and Hartel. January 3rd, 1839. 

18. ,, Princess Christine Belgiojoso in Paris. June 4th, 1839 

19. „ Robert Schumann. June 5th, 1839 . 

20. ,, Breitkopf and Hartel. June, 1839 

21. ,, the Beethoven Committee at Bonn. October 3rd, 1839 38 

22. ,, Count Leo Festetics in Pest. November 24th, 1839 39 

23. ,, Clara Wieck. December 25th, 1839. . . .40 

24. ,, Robert Schumann. March 27th, 1840 . . . 4 1 












9 6. 

To Frau Dr. Lidy Steche in Leipzig. February 





„ Gustav Schmidt. February 27th, 1853 . 


9 3. 

,, Heinrich Brockhaus in Leipzig. March 22nd, 




,, Dr. Franz Brendel in Leipzig. April 3rd, 1 S52 



„ the same. April 30th, 1853 



,, Louis Kohler. May 6th, 1853. 



„ the same. May 24th, 1853 



„ the same. August 1st, 1853 . 



,, Richard Pohl in Dresden. November 5th, 185 




,, Wilhelm Fischer. January 4th, 1854 



„ Escudier in Paris. January 21st, 1854 . 



„ the same. January 28th, 1854 . 



,, Dr. Franz Brendel. February 20th, 1854 



,, Louis Kohler. March 2nd, 1854 



,, Dr. Franz Brendel. March 1 8th, 1854 . 

I8 5 

11 1. 

,, Louis Kohler. April or May, 1854 . 



,, Dr. Franz Brendel. April 26th, 1854 



,, Louis Kohler. June 8th, 1854 . 



,, Dr. Franz Brendel. June 12th, 1854 

I 9 I 


,, Carl Klindworth in London. July 2nd, 1854 



,, Dr. Franz Brendel. July 7th, 1854 . 



,, Anton Rubinstein. July 31st, 1854. 



,, Dr. Franz Brendel. August 12th, 1854 . 



,, Anton Rubinstein. August, 1854 . 



„ Alexander Ritter in Dresden. September 6th, 


. 204 


,, Bernhard Cossmann. September 8th, 1854 



„ Gaetano Belloni. September 9th, 1854 . 



,, Dr. Eduard Liszt. October 10th, 1854 . 



,, Anton Rubinstein. October 19th, 1854 . 



,, Dr. Franz Brendel. Beginning of November, 




,, Anton Rubinstein. November 19th, 1854 

■ 215 


,, Dr. Franz Brendel. December 1st, 1854. 



,, J. W. von Wasielewski in Bonn. December 





,, William Mason in New York. December 





,, Rosalie Spohr. January 4th, 1855 . 




131. To Alfred Dorffel in Leipzig. January 17th, 1855 

132. „ Anton Rubinstein. February 1st, 1855 

133. „ Louis Kohler. March 16th, 1855 . 

134. ,, Dr. Franz Brendel. March 18th, 1855 

135. „ the same. April 1st, 1855 

136. ,, Anton Rubinstein. April 3rd, 1855 . 

137. ,, Freiherr Beaulieu-Marconnay. May 21st, 1855 

138. „ Anton Rubinstein. June 3rd, 1855 . 

139. „ Dr. Franz Brendel. June, 1855 

140. „ the same. June 16th, 1855 

141. „ Edmund Singer. August 1st, 1855 . 

142. „ Bernhard Cossmann. August 15th, 1855 

143. „ August Kiel in Detmold. September 8th, 1855 , 

144- „ Moritz Hauptmann. September 28th, 1855 

145- t, Dr. Eduard Liszt. December 3rd, 1855 . 

146. ,, Frau Meyerbeer in Berlin. December 14th, 1855 

I 47- 1. Dr. Ritter von Seiler in Vienna. December 26th 


148. ,, Dr. Eduard Liszt. February 9th, 1856 . 

149. ,, Dr. von Seiler. February 10th, 1856 

150. „ Dr. Franz Brendel. February 19th, 1856 

151. ,, Dionys Pruckner in Vienna. March 17th, 1856 

152. „ Breitkopf and Hartel. May 15th, 1856 

153. ,, Louis Kohler. May 24th, 1856 

154. „ the same. July 9th, 1856 

155. „ Hoffmann von Fallersleben. July 14th, 1856 

156. „ Wilhelm Wieprecht. July iSth, 1856 

157. „ Edmund Singer. July 28th, 1856 . 

158. „ Joachim Raff. July 31st, 1856 

159. „ Anton Rubinstein. August 6th, 1856 

160. „ Joachim Raff. August 7th, 1856 . 

161. „ Anton Rubinstein. August 21st, 1856 

162. ,, Dr. Eduard Liszt. September 5th, 1856 

163. „ Louis Kohler. October 8th, 1856 . 

164. ,, Dr. Gille in Jena. November 14th, 1856 

165. ,, Dr. Adolf Stern in Dresden. November 14th, 1856 

166. ,, Louis Kohler. November 21st, 1856 

167. „ Dr. Eduard Liszt. November 24th, 1856 



• 238 
. 241 
. 242 

• 245 
. 247 









J L 3 



1 68. To Alexander Ritter in Stettin. December 4th, 1856 . 296 
, L. A. Zellner in Vienna. January 2nd, 1857 . . 299 
, Von Turanyi in Aix-la-Chapelle. January 3rd, 1857 300 
, J. W. von Wasielewski. January 9th, 1857 . . 305 
, Alexis von Lvvoff in St. Petersburg. January 10th, 


, Johannvon Herbeck in Vienna. January 12th, 1S57 

, Franz'Gotze in Leipzig. February 1st, 1857 . 

, Dionys Pruckner. February nth, 1857 . 

, Joachim Raff. February, 1857 

, Ferdinand David. February 26th, 1857 

, Wladimir Stassoff in St. Petersburg. March 17th, 


, Wilhelm von Lenz in St. Petersburg. March 24th 


, Dr. Eduard Liszt. March 26th, 1857 

, Georg Schariezer in Pressburg. April 25th, 1857 

, Dr. Eduard Liszt. April 27th, 1857 

, Frau von Kaulbach. May 1st, 1857 

, Fedor von Milde in Weimar. June 3rd, 1857 . 

, Johann von Herbeck. June 12th, 1857 . 

, Countess Rosalie Sauerma. June 22nd, 1857 . 

, Ludmilla Schestakoff in St. Petersburg. October 

7th. 1857 

, Carl Haslinger. December 5th, 1857 

, Stein in Sondershausen. December 6th, 1857 

, Alexander Ritter. December 7th, 1857 . 

, Max Seifriz in Lovvenberg. December 24th, 1857 

, Alexander Seroff. January 8th, 1858 

, Basil von Engelhardt. January 8th, 1858 

, Felix Draseke. January 10th, 1858 . 

, Louis Kohler. February 1st, 1858 . 

, L. A. Zellner. February 8th, 1858 . 

, Peter Cornelius. February 19th, 1858 . 

, Dionys Pruckner. March 9th, 1858 

, Dr. Eduard Liszt. March 10th, 1858 

, Frau Dr. Steche. March 20th, 1858 

, L. A. Zellner. April 6th, 1858 












202. To 

203. „ 

204. ,, 

205. „ 

206. ,, 

207. „ 

208. „ 

209. „ 

210. „ 

211. „ 

212. ,, 

213- „ 




Dr. Eduard Liszt. April 7th, 1858 . 

Adolf Reubke in Hausneinsdorf. June 10th, 1858 

Prince Constantin von Hohenzollern-Hechingen 

August 18th, 1S58 

Frau Rosa von Milde. August 25th, 1858 
Dr. Franz Brendel. November 2nd, 1858 
Johann von Herbeck. November 22nd, 185E 
Felix Draseke. January 12th, 1859 
Heinrich Porges. March 10th, 1859 
Max Seifriz. March 22nd, 1859 
Dr. Eduard Liszt. April 5th, 1859 • 
Music-Director N. N. April 17th, 1859 . 
Peter Cornelius. May 23rd, 1859 . 
Dr. Franz Brendel. May 23rd, 1859 
Felix Draseke. July 19th, 1859 
Peter Cornelius. August 23rd, 1859 
Dr. Franz Brendel. September 2nd, 1859 
Louis Kohler. September 3rd, 1859 
Dr. Franz Brendel. September 8th, 1859 
Johann von Herbeck. October nth, 1859 
Felix Draseke. October 20th, 1859 
Heinrich Porges. October 30th, 1859 
Ingeborg Stark. November 2nd, 1859 
Johann von Herbeck. November 18th, 1859 
Dr. Franz Brendel. December 1st, 1859 
Anton Rubinstein. December 3rd, 1859 . 
Dr. Franz Brendel. December 6th, 1859 
Dr. Eduard Liszt. December 28th, 1859. 
Josef Dessauer. December 30th, 1859 . 
Wilkoszewski in Munich. January 15th, i860 
Johann von Herbeck. January 26th, i860 
Dr. Franz Brendel. January 25th, i860 
Friedrich Hebbel. February 5th, i860 
Dr. Franz Brendel. February, i860 
the same. March or April, i860 
Louis Kohler. July 5th, i860 . 
Dr. Eduard Liszt. July 9th, 1S60 . 
Ingeborg Stark. Summer, i860 










239. To Dr. Franz Brendel. August 9th, i860 . . . 438 

240. „ Princess C. Sayn-Wittgenstein. September 14th, 

i860 439 

241. ,, Dr. Franz Brendel. September 20th, i860 . . 443 

242. „ Dr. Eduard Liszt. September 20th, i860 . . 445 

243. ,, Hoffmann von Fallersleben. October 30th, i860 . 449 

244. ,, Franz Gotze. November 4th, i860 .... 450 

245. ,, Dr. Franz Brendel. November 16th, i860 . .451 

246. „ the same. December 2nd, i860 .... 452 

247. ,, C. F. Kahnt in Leipzig. December 2nd, i860. . 454 

248. „ the same. December 19th, i860 .... 456 

249. „ Dr. Franz Brendel. December 19th, i860 . . 458 

250. ,, Felix Draseke. December 30th, i860 . . . 460 

251. ,, Dr. Franz Brendel. Beginning of January, 1861 . 462 

252. ,, the same. January 20th, 1861 .... 466 

253. ,, the same. March 4th, 1861 467 

254. ,, Peter Cornelius. April 18th, 1861 . . . . 469 

255. ,, Hoffmann von Fallersleben. April 18th, 1861 . 472 

256. „ Peter Cornelius. July 12th, 1861 .... 473 
256A. ,, the same. July 14th, 1861 474 

257. „ Alfred Dorffel. July 18th, 1861 . . . . 474 

258. „ Edmund Singer in Stuttgart. August 17th, 1861 . 475 

259. ,, C. F. Kahnt. August 27th, 1861 . . . . 476 

260. „ Dr. Franz Brendel. September i6th, 1861 . . 478 


VOL. I. 

i. To Carl Czerny in Vienna.* 

My very dear Master, 

When I think of all the immense obligations 
under which I am placed towards you, and at the same 
time consider how long I have left you without a sign 
of remembrance, I am perfectly ashamed and miserable, 
and in despair of ever being forgiven by you ! " Yes," 
I said to myself with a deep feeling of bitterness, " I 
am an ungrateful fellow ; I have forgotten my benefac- 
tor, I have forgotten that good master to whom I owe 
both my talent and my success." ... At these words 
a tear starts to my eyes, and I assure you that no 
repentant tear was ever more sincere ! Receive it as 
an expiation, and pardon me, for I cannot any longer 
bear the idea that you have any ill-feeling towards 
me. You will pardon me, my dear Master, won't 
you ? Embrace me then . . . good ! Now my heart 
is light. 

You have doubtless heard that I have been playing 
your admirable works here with the greatest success, 

* Autograph in the possession of M. Alfred Bovet at Valentigney. 
— The addressee was Liszt's former teacher, the celebrated Viennese 
teacher of music and composer of innumerable instructive works 
(1791— 1857). 


and all the glory ought to be given to you. I intended 
to have played your variations on the Pirate the day 
after to-morrow at a -very brilliant concert that I was 
to have given at the theatre of H.R.H. Madame, who 
was to have been present as well as the Duchess of 
Orleans ; but man proposes and God disposes. I have 
suddenly caught the measles, and have been obliged 
to say farewell to the concert ; but it is not given up 
because it is put off, and I hope, as soon as ever I am 
well again, to have the pleasure of making these beautiful 
variations known to a large public. 

Pixis i and several other people have spoken much 
to me of four concertos that you have lately finished, 
and the reputation of which is already making a stir in 
Paris. I should be very much pleased, my dear Master, 
if you would commission me to get them sold. This 
would be quite easy for me to do, and I should also have 
the pleasure of playing them from first hand, either at 
the opera or at some big concerts. If my proposition 
pleases you, send them to me by the Austrian Embassy, 
marking the price that you would like to have for them. 
As regards any passages to be altered, if there are any, 
you need only mark them with a red pencil, according 
to your plan which I know so well, and I will point 
them out to the editor with the utmost care. Give me 
at the same time some news about music and pianists 
in Vienna ; and finally tell me, dear Master, which of 
your compositions you think would make the best effect 
in society. 

I close by sending you my heartfelt greetings, and 
begging you once more to pardon the shameful silence 

1 A notable pianist (1788 — 1874) — lived a long time in Paris. 


I have kept towards you : be assured that it has given 
me as much pain as yourself! 

Your very affectionate and grateful pupil, 

F. Liszt. 

December 2yd, 1828. 

P.S. — Please answer me as soon as possible, for I 
am longing for a letter from you ; and please embrace 
your excellent parents from me. I add my address 
(Rue Montholon, No. 7 bis ). 

2. To De Mancy in Paris.* 

December 23rd, 1829. 

My dear M. de Mancy, 

I am so full of lessons that each day, from half- 
past eight in the morning till 10 at night, I have scarcely 
breathing time. Please excuse me therefore for not 
coming, as I should have liked to do, to lunch with 
Madame de Mancy, but it is quite impossible. The only 
thing I could do would be to come about 10 o'clock, if 
that would not be too late for a wedding day, and in 
that case I will beg M. Ebner l to come with me. I 
don't write you a longer letter, for there is a pupil who 
has been waiting for me for an hour. Besides, we are 
not standing on ceremony. Ever yours, 

F. Liszt. 

* Autograph in the possession of M. Etienne Charavay in Paris. 
Carl Ebner, a Hungarian, a talented violinist (1812 — 1836). 


3. To Carl Czerny.* 

My dear and beloved Master, 

It would be impossible to explain to you the 
why and wherefore of my leaving you so long without 
news of me. Moreover, I have now only five minutes 
in which to write to you, for Mr. Luden, a pianist from 
Copenhagen, is starting shortly, and for fear of delaying 
his journey I must be brief; but what is postponed is 
not lost, so cheer up, for very soon you will get a great 
thick letter from me, which I will take care to prepay, 
as I should not like to ruin you. 

Among all the circles of artists where I go in this 
country I plead your cause tremendously : we all want 
you to come and stay some time in Paris ; it would 
certainly do you a great deal of good, and you are so 
widely esteemed that you will doubtless be well satis- 
fied with the reception you will meet with here. If 
you ever entertain this idea, write to me, I entreat you, 
for I will do for you what I would do for my father. 
I have been making a special study of your admirable 
sonata (Op. 7), and have since played it at several 
reunions of connoisseurs (or would-be connoisseurs) : 
you cannot imagine what an effect it made; I was 
quite overcome by it. It was in a burst of enthusiasm 
caused by the Prestissimo, that Mr. Luden begged for 
a few words of introduction to you ; I know your 
kindness, indeed I could never forget it. / therefore 
commend him in all confidence to your goodness, until 
the time when I am so happy as to embrace you myself 

* Autograph in the Musical Society's Archives in Vienna. Printed 
in a German translation : " La Mara, Letters of Musicians extending 
over Five Centuries." II. Leipzig, B. and H. 1887. 


and to show you (however feebly) all the gratitude and 
admiration which fill me. 

F. Liszt. 

Paris, August 26th, 1830. 

4. To Alphonse Brot in Paris.* 

(Paris, Beginning of the 30th year.) 

It would give us great pleasure, my dear M. Brot, 
if you would come and dine with us without ceremony 
to-morrow, Monday, about 6 o'clock ; I do not promise 
you a good dinner, — that is not the business of us poor 
artists ; but the good company you will meet will, 
I trust, make up for that. Monsieur Hugo 1 and 
Edgard Quinet 2 have promised to come. So do try 
not to disappoint us, for we should miss you much. 
My good mother told me to press you to come, for 
she is very fond of you. Till to-morrow then ! Kind 
regards and thanks. 

F. Liszt. 

I have been at least six times to you without having 
the pleasure of seeing you. 

61, Rue de Provence. 

5. Monsieur Pierre Wolff (Junior), 
Rue de la Tertasse, Geneva, Switzerland.! 

Nous disons : " II est temps. Executons, c'est 1'heure." 
Alors nous retournons les yeux — La Mort est la ! 
Ainsi de mes projets. — Quand vous verrai-je, Espagne, 
Et Venise et son golfe, et Rome et sa campagne, 

* Autograph in the possession of M. Etienne Charavay in Paris. 

1 The poet. 

- French writer and philosopher. 

j Autograph in the possession of M. Gaston Calmann-Levy in Paris. 


Toi, Sicile, que ronge un volcan souterrain, 
Grece qu'on connait trop, Sardaigne qu'on ignore, 
Cites de l'Aquilon, du Couchant, de 1'Aurore, 
Pyramides du Nil, Cathedrales du Rhin ! 
Qui sait ? — jamais peut-etre ! * 

Earthly life is but a malady of the soul, an excite- 
ment which is kept up by the passions. The natural 
state of the soul is rest ! 

Paris, May 2nd [1832]. 

Here is a whole fortnight that my mind and fingers 
have been working like two lost spirits, = Homer, 
the Bible, Plato, Locke, Byron, Hugo, Lamartine, 
Chateaubriand, Beethoven, Bach, Hummel, Mozart, 
Weber, are all around me. I study them, meditate 
on them, devour them with fury ; besides this I 
practise four to five hours of exercises (3rds, 6ths, 
8ths, tremolos, repetition of notes, cadences, etc., etc.). 
Ah ! provided I don't go mad, you will find an artist 
in me ! Yes, an artist such as you desire, such as 
is required nowadays ! 

"And I too am a painter!" cried Michael Angelo 
the first time he beheld a chef d'oeuvre. . . . Though 
insignificant and poor, your friend cannot leave off 
repeating those words of the great man ever since 
Paganini's last performance. Rene, what a man, 

* We say : " Now it is time. Let's act, for 'tis the hour." 
Then turn we but our eyes — lo ! death is there ! 
Thus with my plans. When shall I see thee, Espagna, 
And Venice with her gulf, and Rome with her Campagna ; 
Thou, Sicily, whom volcanoes undermine ; 
Greece, whom we know too well, Sardinia, unknown one, 
Lands of the north, the west, the rising sun, 
Pyramids of the Nile, Cathedrals of the Rhine ! 
Who knows ? Never perchance ! 


what a violin, what an artist ! Heavens ! what 
sufferings, what misery, what tortures in those four 
strings ! 

Here are a few of his characteristics : — 

t*-*-»-*^— S»H »-ti — S*-- 1 S-l »-l !»— P>£r-^-£-^-l ^-1 1 

F-! — F-l— ><>-! — »-h-5»^— .«*— -ss- ^-a-^-n* 2 *-^-*-^-*-^ -^ 


i — i — i — i — h 


PL* :£:*!>* ktbrn-m etc 

£ :? 

ft* -* 


-^— -i h 


: ^ : F 



■to! I I 

Sff :P 

a».|^:t — : pf-^- 

"ft ff 

^eif CI -slsi-- : §£^- i ig 

■*•* i ts^ - ^s 


As to his expression, his manner of phrasing, his 
very soul in fact ! 


May Sth [1832]. 

My good friend, it was in a paroxysm of madness 
that I wrote you the above lines ; a strain of work, 
wakefulness, and those violent desires (for which 
you know me) had set my poor head aflame ; I went 
from right to left, then from left to right (like a 
sentinel in the winter, freezing), singing, declaiming, 
gesticulating, crying out ; in a word, I was delirious. 
To-day the spiritual and the animal (to use the witty 
language of M. de Maistre) are a little more evenly 
balanced ; for the volcano of the heart is not extin- 
guished, but is working silently. — Until when ? — 

Address your letters to Monsieur Reidet, the receiver- 
general at the port of Rouen. 

A thousand kind messages to the ladies Boissier. 
I will tell you some day the reasons which prevented 
me from starting for Geneva. On this subject 1 
shall call you in evidence. 

Bertini is in London ; Madame Malibran is making 
her round of Germany ; Messemaecker (how is he 
getting on ?) is resting on his laurels at Brussels ; 
Aguado has the illustrious maestro Rossini in tow. 
-Ah— Hi— Oh— Hu!!! 

6. To Ferdinand Hiller.* 
This is the twentieth time, at least, that we 
have tried to meet, first at my house, then here, with 

* This letter, published by F. Niecks ("F. Chopin, Man and 
Musician." Vol. I. German by Langhans. Leipzig, Leuekart, 
1890), was written by Liszt and Chopin jointly, and was also signed 
by Chopin's friend Franchomme, the violoncellist. The part written 
by Chopin is indicated here by a straight parenthesis. — Addressed 
to the well-known composer and author, afterwards Director of the 
Conservatorium and Concert Society at Cologne (1S11 — 1885). 


the intention of writing to you, and always some visit, 
or some other unforeseen hindrance, has occurred. I 
don't know whether Chopin will be strong enough to 
make excuses to you ; for my part, it seems to me that 
we have been so unmannerly and impertinent that no 
excuses are now permissible or possible. 

We sympathised most deeply in your bereavement, 
and more deeply did we wish that we could be with 
you in order to soften, as far as possible, the grief of 
your heart. 1 

[He has said it all so well that I have nothing to add 
to excuse me specially for my negligence or idleness, 

or whim or distraction, or — or — or You know 

that I can explain myself better in person, and, this 
autumn, when I take you home late by the boulevards 
to your mother, I shall try to obtain your pardon. I 
am writing to you without knowing what my pen is 
scribbling, as Liszt is at this moment playing my 
Studies, and transporting me away from all suitable 
ideas. I wish I could steal his manner of rendering 
my own works. With regard to your friends who are 
staying in Paris, I have often seen, during this winter 
and spring, the Leo 2 family, and all that follows. 
There have been evenings at certain ambassadresses' 
houses, and there was not a single one at which some- 
body living at Frankfort was not mentioned. Madame 
Eichthal sends you many kind messages — Plater, 3 the 
whole family were very sorry for your departure, and 
begged me to give you their condolences.] Madame 

1 Hiller had lost his father. 

- August Leo, banker in Paris. 

3 Count Plater, Chopin's countryman, and a friend also of Liszt. 


d'Apponyi 1 was very much vexed with me for not 
having taken you there before your departure ; she 
hopes that when you come back you will be sure to 
remember the promise you made me. I will say as 
much of a certain lady who is not an ambassadress. 

Do you know Chopin's wonderful Studies ? 

[They are admirable ! and moreover they will last 
only until yours appear] = an author's little piece of 
modesty ! ! ! [A little piece ' of rudeness on the part 
of the regent, for — to explain the matter fully — he is 
correcting my spelling] according to the method of 
Monsieur Marlet. 

You will come back in the month of [September, 
isn't it ? tr]y* to let us know the day ; we have 
determined to give you a serenade (or charivari^). The 
company of the most distinguished artists of the 
capital = M. Franchomme (present), Madame Petzold, 
and the Abbe Bardin, 2 the leaders of the Rue 
d'Amboise (and my neighbours), Maurice Schlesinger, 3 
uncles, aunts, nephews, nieces, brothers-in-law, sisters- 
in-law, and — and \_ il en plan du troisieme," ctc^\.% The 
responsible editors, 

F. Liszt. 
[F. Chopin.] (Aug. Franchomme.) 

[By-the-bye, I met Heine yesterday, who begged 
me to grussen you herzlich unci herzlich.\ — 

1 Apponyi, the Austrian ambassador in Paris. 
* Tach]ez. 

f Mock serenade. 

2 A passionate lover of music, who had a great many artists to see 
him. 3 Music publisher. 

J In the third row — i.e., less important people (?). 

§ To send you his warmest and most heartfelt greetings. 


By-the-bye, also, please excuse all the " you's " *— 
I do beg you to excuse them. If you have a moment 
to spare, give us news of yourself, which would be 
most welcome. Paris, Rue de la Chaussee d'Antin, 
No. 5. At present I am occupying Franck's 1 lodging 
— he is gone to London and Berlin. I am most happy 
in the rooms which were so often our meeting-place. 
Berlioz sends greetings. 

As to pcre Baillot, he is in Switzerland, at Geneva. 
So now you can guess that I can't send you the Bach 

June 20th, 1S33.] 

7. To Abbe F. de Lamennais.| 

Four months have actually passed, dear Father, 
since we parted, and I feel very sad at not getting 
a word from you ! — at the same time I do not wish to 
complain, for it seems to me that you can never doubt 
my deep and filial affection. . . . Much more, I even 
know that you have been willing to accept it, and, 

* Instead of the more familiar "thee " and " thou." 
\ Dr. Hermann Franck, author, friend of Chopin and of many 
other celebrities; editor also for a short time, in the forties, of 
Brockhaus's " Deutsche Allgemeine Zeitung." 

f Autograph in the possession of M. Alfred Bovet at Valentigney. 
— Addressed to the celebrated French author (1782 — 1854), who 
followed his brilliant apology of Catholicism, " Essai sur l'lndifference 
en Matiere de Religion " (Essay on Indifference in Matters of 
Religion, 1817 — 1823), by the " Paroles d'un Croyant " (Words of a 
Believer, 1834), a veritable " Ode to revolution in the sublimest biblical 
style," and sought to bring religious and political liberty into accord 
with true religiousness. The latter work made an unheard-of 
sensation, but brought upon him the anathema of the Church. He 
obtained a great influence over Liszt, who was on intimate terms 
with him. 


however humble it may be, to count it for something. 
. . . What more then can I desire ? . . . 

Eugene, whose brotherly friendship becomes dearer 
to me day by day, has often given me good tidings of 
you. The last time I saw him he told me confiden- 
tially that you were working at a sort of Introduction, 
or developed Preface to your works. — Although I know 
perfectly well that my interest counts for nothing in 
this matter, I may be permitted nevertheless to tell 
you how glad I am to know that you are occupied with 
this work. To yourself, first of all, I think you owe 
it — your name and glory will shine out all the more 
powerfully for it. And, secondly, for the public it will 
be a work of art the more (and this commodity becomes 
rather rare as time goes on), and which will besides 
have the double advantage of aiding and fixing them 
in the understanding of your past works, whilst at the 
same time preparing them for, and initiating them into, 
your future thoughts. 

And, lastly, for us who love you, and who would 
glory and be proud to be one day called your disciples, ' 
we rejoice in it because the world will learn to know 
you better by this means, and because it will probably 
be another opportunity for us to show our sympathetic 
admiration as well as our unalterable devotion for you. 

Unless something very unforeseen occurs, I shall 
come again and beg you to receive me for a few days 
towards the middle of July ; I trust sufficiently to your 
sincerity to tell me that you would rather not have me 
if my individuality would trouble or bother you too 
much. — Before that, I shall have the honour of sending 
you a little work, to which I have had the audacity to 


tack a great name— yours.— It is an instrumental De 
profundi's. The plain-song that you like so much is 
preserved in it with the Faburden. Perhaps this may 
give you a little pleasure ; at any rate, I have done it 
in remembrance of some hours passed (I should say 
lived) at La Chenaie. 

Farewell, dear Father. I don't give you any news 
of Paris,— you know all that. You know that Ballanche 
wants to be an Academician, and accepts Salvandy 
and Dupaty as competitors,— you know the little check 
of January,— the miserable petty intrigues of court and 
newspaper and vestry ;— in a word, you know how 
men are wanting in noble and generous sentiments, 
and how they make the most of their own ignoble 
ends and interests, to which their words and actions 
yet give the lie. 

Farewell once more, dear Father. Think as often 
as possible of all the good you have done, and of that 
which men have a right to expect of you. Think some- 
times also of the help and the wealth of affection that 
you have showered on me in particular, and may the 
remembrance of this be sweet to you ! 

Yours ever, for life— from heart and soul, 

F. Liszt. 

J an umy 14th, 1835. 

To-morrow morning I have to leave for two months. 
If you should be so good as to write to me before my 
return, please address always, 61, Rue de Provence. 
My mother will take care that I have your kind letter. 


8. To his Mother* 

Dear Mother, 

Please send me at once, without any delay, the 

Pianist's Glossary, which you will get at Lemonier's, 

Rue de TEchelle. 

Simply put it in a cover, and put it in the post 
(General Office), and I shall get it, at latest, by Monday 
or Tuesday. — 

Address to Mr. Hermann Cohen, 1 Grande Rue, No. 8. 
I have an immense deal to do this morning, so that I 
have barely time to tell you that I love you with all 
my heart, and that I rejoice above everything at the 
prospect of seeing you again soon — that is to say, in six 
or eight months. F. Liszt. 

You will hear of me from Mr. Pinondel, who passed 
a day with us. 

9. To the Abbe F. de Lamennais, La Chenaie.| 

[Paris, May 28t/i, 1836.'-] 

Dear and venerable Father, 

I shall expect you. Whatever sorrow there is 

* From a copy, by Mr. Vladimir Stassoff of St. Petersburg, the 
original of which is in Russia. The letter in itself is unimportant, 
but it is the only one to Liszt's mother which the editor could get, 
and gives a fresh proof of the devotion of the artist to his mother. 

: A frequently mentioned pupil and favourite of Liszt's, who was 
born at Hamburg in 1820, much thought of as a pianist in Paris, and 
immortalised as " Puzzi " by George Sand (" Lettres d'un Vo3*ageur ") ; 
he followed Liszt to Geneva, and gave lessons there. In 1850 he 
entered the order of Carmelites, and, under the name of Pater 
Augustin, died in Berlin in January 187 1, whither he had gone with 
French prisoners. 

t Autograph in the possession of Mr. Marshall in London. 

- According to the stamp of the post office. 


in the depth of my soul, it will be sweet and consoling 
to me to see you again. 

You are so wonderfully good to me ! and I should 
suffer so much by being so long away from you ! — 

An revoir then, once more — in eight days at latest 
it will be, will it not ? I do nothing else than keep 
expecting you. 

Yours, with the deepest respect and most sincere 

F. Liszt. 

io. To Mademoiselle Lydie Pavy, of La Glaciere, 

St. Gervais, August 22nd [1836]. 

Your postscript deserves a punishment, and 
here it comes dated from St. Gervais. I do not know 
whether your charming sister-in-law, Madame Pavy, 
will consider this stamp of St. Gervais worthy to appear 
in her collection ; be that as it may, it gives me no less 
a pleasure to converse a little with you who are always 
so charming, so versatile, so excellent, and, permit me 
to say, so kind to me. 

Mademoiselle Merienne, whom I saw only quite lately 
(for you must know that during the whole month of 
July, of glorious memory, I have barely condescended 
to go down once or twice to Geneva ; I was living in 
a little bit of a house on the mountain, whence, let me 
say parenthetically, it would have been quite easy for 
me to hurl sermons and letters at you) ; Mademoiselle 
Merienne (what shall I say to you after such an enor- 
mous parenthesis ?), somewhat like (by way of a new 

* Autograph in the possession of M. Etienne Charavay in Paris. 
VOL. I. 2 


parenthesis) those declaimed discourses of Plantade or 
Lhuillier, which put a stop to music whilst nevertheless 
admitting that there is such a thing, whether at the 
beginning or at the end — Mademoiselle Merienne — 
au diable Mademoiselle Merienne ! You guess by this 
time that she gave me tidings of you, that she is a 
delightful and enchanting person, that she makes 
admirable portraits, and that mine, amongst others, 
has been a wonderful success. Etc., etc., and always 
etc. . . . 

And yet I do wish to talk to you about this good 
Mademoiselle Merienne, for she said a heap of charming 
things to me for your sake, which will certainly not 
astonish you. But how to set about it after all this 
preamble of parentheses ? Ah, I have it ! — In three or 
four weeks I shall come and knock at your door. — And 
then ? Well, then we will chatter away at our ease. 
So much the worse for you if you are not satisfied with 
my cunning stratagem. Now let us talk business ; 
yes, seriously, let us talk business ! 

Has your brother returned from his journey ? And 
is he well ? And has no accident happened to him on 
the way ? You are surprised, perhaps, at my anxiety ; 
but by-and-bye you will understand it without difficulty, 
when I have explained to you how terribly interested I 
am in the fact of his journey being safely accomplished. 

Just imagine that at this moment I have only 200 fr. 
in my purse (a ridiculously small sum for a traveller), 
and that it is M. Pavy who is to be my financial Pro- 
vidence, considering that it is to him that my mother 
has confided my little quarterly income of a thousand 


Now at this point I must entrust you with a little 
secret, which at present is only known to two individuals, 
Messrs. Paccard and Roger (charming names for con- 
fidants, are not they ?), and which I beg you to make 
known as quickly as possible to your brother. It 
concerns a little scrap of paper (which these rogues of 
bankers call a draft, I believe), for a thousand francs, by 
which Messrs. Paccard and Roger are authorised by 
my signature, which is at the bottom, to demand the 
above sum of a thousand francs (which my mother 
entrusted to M. Pavy in Paris) from M. Pavy, junior, 
living at La Glaciere at Lyons, after the 22nd of 
August, 1836. 

A thousand pardons for troubling you with these 
details, but I should never have had the courage to 
write direct to your brother, on account of my pro- 
found ignorance in money matters. 

You tell me that you passed part of the fine season 
in the country — why did not you arrange so as to 
tour for a little among the mountains of Switzerland ? 
I should have had such pleasure in doing the honours, 
and Mademoiselle Merienne also . . . but don't let 
us speak any more of Mademoiselle Merienne (who, 
be it observed in parenthesis, must have already ap- 
peared a dozen times in this letter), for fear of again 
falling into inextricable parentheses. 

An revoir then ; in five weeks at latest I shall come 
and warm myself at your " glacier." 

F. Liszt. 


ii. To Abbe de Lamexxais.* 

My friend Louis de Ronchaud writes me word 
that he has had the honour of seeing you, dear Father, 
and that you were kind enough to give him a message 
of affectionate remembrance for me. I am very happy 
to know that you continue to keep this precious and 
friendly feeling for me, of which you have already given 
me so many proofs, and which I shall endeavour always 
to deserve as far as is in my power. 

I am still not very far advanced in my Italian journey. 
The beauty of these parts, the necessity of writing with 
some little continuance, and also, if all be said, some 
altogether unexpected successes, have kept me in Milan 
and the neighbourhood (Como and the delicious shores 
of the lake) much longer than I had foreseen. As 
regards musical matters, the presence of Rossini, whom 
I frequently see, gives a certain impetus to this country. 
I have been singularly well received here, so I shall 
probably pass the greater part of the winter here, and 
shall not start for Venice till towards the beginning 
of March. Thence I shall go to Florence and Rome, 
where I expect I shall stay a good long time. 

D. has no doubt talked to you of our stay at Nohant 
last summer. I think that he got rid there of a good 
many old prejudices about me. It was a sweet satis- 
faction to me to learn through him how good and 
indulgent you have been towards me on several occa- 
sions, even so far as to contradict and defend me 
warmly against him and against others who knew 

* Autograph in the possession of M. Alfred Bovet at Valentigney. 


me still less. I had charged our secret friend to 
defend me in his turn from a slight wrong which I 
had, only apparently, committed, but even "appar- 
ently " is too much, and I think I have entirely justified 
myself with regard to it. I don't know whether in his 
noble carelessness he will have thought of it. How- 
ever that may be, I shall always count on your paternal 
affection more than all the rest. 

What can I say to you of Italy that you do not 
know, and that you have not said in such manner 
as to cause despair for ever to the makers of obser- 
vations ! — It is always the same statu quo, the excellent 
and perfectly happy government that you know. — I am 
hoping and longing ardently for your next book, 1 which 
I shall read with my whole heart and soul, as I have 
read all that you have written for four years. I shall 
owe you just so many more good and noble emotions. 
Will they remain for ever sterile ? Will my life be 
for ever tainted with this idle uselessness which weighs 
upon me ? Will the hour of devotion and of manly 
action never come ? Am I condemned without respite 
to .this trade of a Merry Andrew and to amuse in 
drawing-rooms ? 

Whatever may be my poor and humble destiny, do 
not ever doubt my heart. Do not ever doubt the deep 
respect and unalterable devotion with which you have 
inspired me. 

Yours for ever, 

F. Liszt., December 18th, 1837. 

1 Probably " Le Livre du Peuple " : Paris, 1837. 


12. To Breitkopf and H artel in Leipzig.* 

I thank you much, gentlemen, for the obliging 
letter that you have written me. Up to the present 
time I have had none but the most pleasant business 
relations with Mr. Hofmeister, who has the kindness 
to publish the greater part of my works in Germany. 
As I do not know very much of the laws which 
regulate literary and musical proprietorship in Saxony, 
I had spoken to him about the Beethoven Symphonies, 
of which I have undertaken the arrangement, or, more 
correctly speaking, the pianoforte score. To tell the 
truth, this work has, nevertheless, cost me some 
trouble ; whether I am right or wrong, I think it 
sufficiently different from, not to say superior to, those 
of the same kind which have hitherto appeared. The 
recent publication of the same Symphonies, arranged 
by Mr. Kalkbrenner, makes me anxious that mine 
should not remain any longer in a portfolio. I intend 
also to finger them carefully, which, in addition to the 
indication of the different instruments (which is im- 
portant in this kind of work), will most certainly make 
this edition much more complete. If, then, as I imagine, 
it is impossible for Mr. Hofmeister to publish them, 
I shall be very grateful if you will undertake it. The 
reputation of your house is European, and I perfectly 
remember having had the pleasure of seeing Mr. Ray- 
mond Hartel in Paris. It will be a pleasure to me to 
conclude this little business with you, at the rate of 
eight francs a page. 

* Autograph in the possession of Herr Hermann Scholtz, Kammer- 
virtuoso in Dresden. 


Up to the present time I have only finished three 
Symphonies (that in A major), but I could promise to 
let you have the others successively, according as you 
might wish, or I could limit my work to the four most 
important Symphonies (if I may express my opinion), 
namely, the Pastoral, C minor, A major, and the Eroica. 
I think those are the ones which are most effective on 
the piano. 

I start to-morrow for Vienna, where I expect to 
remain till the end of April. Please address to me 
to the care of Mr. Tobias Haslinger till the 25th of 
April, and after that to Mr. Ricordi, Milan, who has 
undertaken to forward me all my letters while I am 
in Italy. My compliments and affectionate thanks. 

F. Liszt. 

13. To Robert Schumann.* 

[Without a date; received by R. S. May $th, 1838.] 

My dear Monsieur Schumann, 

I shall not attempt to tell you how grateful 
and touched I am by your friendly letter. Mademoi- 
selle Wieck, whom I have been so happy as to meet 
here, will express to you, better than I can, all the 
sympathy, all the admiring affection I have for you. I 
have been such a nomad latterly that the pieces you 
were kind enough to address to me at Milan only 
reached me on the eve of my departure from Venice 

* Addressed to the celebrated German Tone-poet (1810 — 1856). 
Liszt had spoken of Schumann's Op. 5, II, and 14 in the Gazette 
Musicale, 1837, with equal enthusiasm and understanding, which soon 
brought the two together. 


about a fortnight ago ; and since then we have been 
talking so much of you, day and night, that it hardly 
occurred to me to write to you. To-day, however, to 
my great astonishment, I get a fresh token of your 
friendly remembrance, and I certainly will not delay 
thanking you many times for it, so I have just left a 
charming party of very pretty women in order to write 
these few lines to you. But the truth is you need 
hardly thank me for this little sacrifice, for it is a great 
pleasure to me to be able to have a little chat with you. 

The Carneval and the Fantasiestilcke have interested 
me excessively. I play them really with delight, and 
God knows that I can't say as much of many things. 
To speak frankly and freely, it is absolutely only 
Chopin's compositions and yours that have a powerful 
interest for me. 

The rest do not deserve the honour of being mentioned 
... at least, with a few exceptions, — to be conciliatory, 
like Euscbius. 

In six weeks to two months I shall send you my 
twelve Studies and a half-dozen of Fantasiestilcke 
(" Impressions et Poemes ") — I consider them less bad 
than others of my making. I shall be happy to think 
that they do not displease you. 

May I confess to you that I was not very much 
struck with Henselt's Studies, and that I found 
them not up to their reputation ? I don't know 
whether you share my opinion, but they appear to 
me, on the whole, very careless. They are pretty to 
listen to, they are very pretty to look at, the effect is 
excellent, the edition (thanks to our friend Hofmeister) 
is most carefully done ; but, all counted, I question 


whether H. is anything but a distinguished mediocrity. 1 
For the rest, he is very young, and will doubtless 
develop. Let us, at least, hope so. 

I am extremely sorry that I cannot come and pay 
you a little visit at Leipzig at present. It is one of my 
keenest desires to make your personal acquaintance and 
to pass some days with you. But as that is not possible 
now, let us, at least, try not to be entirely separated, 
and let us combat, as far as we can, the laziness 
about writing, which is, 1 think, equally in us both. 

In a fortnight I am returning to Venice. I shall be 
back in Milan at the time of the coronation (towards 
the end of August). Next winter I expect to pass in 
Rome, if the cholera or some other plague does not 
stop it. I will not induce you to come to Italy. Your 
sympathies would be too deeply wounded there. If 
they have even heard that Beethoven and Weber ever 
existed, it is as much as they have done. 

Will you not have what you have sent me printed ? 
Haslinger would have it gladly, I think, and it would 
be a great pleasure to me to see my name associated 
with yours. 

If I might make a request, I would ask you to write 
some trios, or a quintet or septet. It seems to me 
that you would do that admirably, and for a long time 
nothing remarkable in that line has been published. If 
ever you determine to do so, let me know at once, as I 
should be anxious to have the honour of making them 
known to the public. 

1 How highly Liszt thought, later on, of Henselt's Concerto 
and other of his compositions is well known, and is spoken of in a 
subsequent letter to Baroness Wrangel, in May, 18S3. 


Adieu, my dear Monsieur Schumann; keep me always 
in affectionate remembrance, and accept once more my 
warm sympathy and devotion. 

F. Liszt. 

14. To the " Gesellschaft der MuSIKFREUNDE" * 
in Vienna.! 

I am extremely grateful for the honour you 
have done me in admitting me among you as a member 
of the Vienna Musik-Vercin.% I cannot, unfortunately, 
flatter myself that I have as yet deserved this distinc- 
tion, but allow me to say that it will not be my fault 
if I do not become worthy of it. 

If ever the occasion should offer in which I can be 
agreeable or useful to the Society of the Musik-Verein, 
be assured that I shall gladly avail myself of it, and 
that you will henceforth have a claim on my gratitude 
and devotion. 

I have the honour to be, gentlemen, 

Yours faithfully, 

F. Liszt. 

Venice, June 1st, 1838. 

15. To Simon Lowy in Vienna. § 

I am very sensible, my dear sir, of your friendly 
remembrance. Your kind letter found me in the midst 

* Society of Musical Dilettanti, or Amateur Musical Society. 

f Autograph in the Archives of the Society in Vienna. 

% Musical Union. 

§ Autograph in the possession of Herr O. A. Schulz, booksellei 
in Leipzig. — Addressed to a Vienna banker, an intimate friend of 
Liszt. The "Soirees de Vienne," composed on Schubert Valses, are 
dedicated to him. 


of the official hurly-burly of the coronation fetes. 
What business on earth had I to do with such an 
affair ? I have not the least idea. Thank Heaven we 
are now at the end of it all, safe and sound, rejoicing, 
and sated with amusement ! 

I found at Milan a certain number of my Vienna 
connections. One or two of the persons whom you 
will not mention to me (and whose anonymity I 
respect) were also there. I know that a great many 
of the people who approach me with a smile on their 
lips, and protestations of friendship on their tongues, 
have nothing better to. do than to pull me to pieces as 
best they can as soon as they are outside my door. 
It is, moreover, the fate of all the world. I resign 
myself to it willingly, as I do to all the absurd and 
odious necessities of this lower world. There is, 
besides, just this much good in these sad experi- 
ences of various relations with men — which is, that 
one learns to relish and appreciate better the devotion 
of the few friends whom chance has thrown in your 

.In a few days from now I shall start for Bologna, 
Florence, and Rome. In spite of all my desire to 
return to Vienna, where people have been so kind and 
indulgent to me, I do not yet see when I shall be able 
to get there. However this journey may be put off, 
I hope, nevertheless, my dear sir, that you w T ill con- 
tinue till then the affectionate feelings you so kindly 
entertain towards me. Receive in return my assur- 
ances of consideration and affectionate devotion. 

F. Liszt. 

Milan, September 22nd, 1S38. 


Will you be so good as to give the enclosed note to 
the charming woman who is good enough to remember 
me so kindly ? 

1 6. To M. Pacini, Music Publisher in Paris.* 

My dear Monsieur Pacini, 

In two or three days at latest from now you 
will receive the manuscript for which you asked me 
for the book of the Hundred and One. 1 Mr. Hugot 
has kindly undertaken to bring it to you. 

As the title implies, it is an Etude (di Bravura) 
after Paganini.' 2 You will oblige me by recommending 
the engraver to engrave it very spaciously. In addition, 
you had better, I think, reprint directly afterwards this 
Etude facilitc'e, which I have also sent you. This 
second arrangement is by M. Schumann, a young 
composer of very great merit. It is more within the 
reach of the general public, and also more exact than 
my paraphrase. 

Many apologies for having kept you waiting so long 
for such a small thing, and kind remembrances to 

Yours affectionately, 

F. Liszt. 

Please send the corrected proofs of this study to 

* Autograph in the possession of M. Alfred Bovet at Valentigney. 

1 A collective work with contributions by the celebrities of the 

- Bravura Studies on Paganini's Capricci, arranged for the piano- 
forte, brought out by Haslinger, Vienna, in 1839. A second, newly 
arranged edition, dedicated to Clara Schumann, " Grandes Etudes de 
Paganini," was brought out by Breitkopf and Hartel in 1851. 


Haslinger, musical editor to the Court, at Graben, 

/ must have at least two corrected proofs. Prego ! 
Prego ! ! * leave only such mistakes as are absolutely 
necessary in order that an edition may be supposed to 
be correct. 

Padua, September 30//?, 183S. 

17. To Breitkopf and H Artel in Leipzig.! 

I am really grieved, gentlemen, at the trouble 
you have been good enough to take about these unlucky 
Symphonies, and I hardly know how to express my 
acknowledgments. As I have already had the honour 
of telling you, Mr. Mori had been previously engaged 
to publish these Symphonies, and, as the steps you 
have taken have not been crowned with success, I will 
keep to this first publisher, with whom I have every 
reason to be satisfied up to now. 

You can then publish this work in two or three 
months from now. 1 Only it is essential that I should 
correct the last proof, so that the edition may be 
absolutely correct. I also wish to add the fingering to 
several passages, to make them easier for amateurs. 
Be so good, therefore, as to send me, through the 
Embassy (or by any other opportunity which is not too 
expensive), tzvo proofs to Rome, where I shall be in 

* I beg ! 

f This is the first of the Liszt letters extant in the archives of the 

1 Pianoforte scores of the C minor and Pastoral Symphonies of 


about twelve days, and where I expect to remain till 
the middle of March. 

I hope, gentlemen, that you will not have cause to 
regret the obliging advances that you have made to me 
in this matter, and for which I am sincerely grateful 
to you. If you will be so good as to add to the proofs 
of the Beethoven Symphonies such of the songs of 
Beethoven (or Weber) as you would like me to tran- 
scribe for piano solo, I will then give you a positive 
answer as to that little work, which I shall be delighted 
to do for you, but to which I cannot assent beforehand, 
not knowing of which songs you are the proprietors. 
If Leyer und Schwert was published by you, I will do 
that with pleasure. I think that these songs, or at any 
rate four or five of them, would be rather satisfactory 
for the piano. 

Accept, gentlemen, the expression of my high 

F. Liszt. 

Florence, January yd, 1S39. 

18. To Princess Christine Belgiojoso in Paris.* 

It would be self-conceit in me, Princess, to com- 
plain of your silence. Your letters have always been 
for me a favour, a charm. I am not meaning to say 
that I have the slightest right to them. Nevertheless, 
as you do not reply to me any more, I hope you will 
at least permit me to tell you how very much I feel 

* Autograph in the possession of M. Alfred Bovet at Valcntigney. 
— Addressed to the celebrated writer and patriot. In 1837 a charity 
concert took place in her salons, at which Liszt and Thalberg both 


the very slightest marks of your kindness, and what a 
price I set upon your remembrance. 

Some numbers of the Gazette or Revue Musicale, 
which have accidentally fallen into my hands at the 
house of one of my Russian friends (for in this happy 
country of the Arts, and of music in particular, you can 
well imagine that no one is foolish enough to spend a 
thirty francs' subscription on the Revue Musicale), have 
informed me that you had decidedly raised altar for altar, 
and made your charming salon echo with magnificent 
harmonies. I confess that this is perhaps the one regret 
of my winter. I should so immensely have liked to be 
there to admire you, to applaud you. Several people 
who had the honour of being present at these choice 
evenings have spoken to me about them with enthusiasm. 

What a contrast to the tiresome musical soliloquies (I 
do not know what other name to give to this invention 
of mine) with which I contrived to gratify the Romans, 
and which I am quite capable of importing to Paris, 
so unbounded does my impudence become ! Imagine 
that, wearied with warfare, not being able to compose 
a programme which would have common sense, I have 
Ventured to give a series of concerts all by myself, 
affecting the Louis XIV. style, and saying cavalierly to 
the public, "The concert is — myself." For the curio- 
sity of the thing I copy one of the programmes of the 
soliloquies for you : — 

1. Overture to William Tell, performed by M. L. 

2. Reminiscences of the Puritani. Fantaisie com- 
posed and performed by the above-mentioned ! 

3. Etudes and fragments by the same to the same ! 

4. Improvisation on themes given — still by the same. 


And that was all ; neither more nor less, except 
lively conversation during the intervals, and enthusiasm 
if there was room for it. 

A propos of enthusiasm, I ought at least to talk to 
you of St. Peter's. That is the proper thing to do when 
one writes from Rome. But, in the first place, I am 
writing to you from Albano, whence I can only discern 
the dome, and, secondly, this poor St. Peter's has been 
so disguised, so embellished by papier-mache wreaths, 
horrid curtains at alcoves, etc., etc., all in honour of the 
five or six last saints whom His Holiness has canonised, 
that I try to put away the recollection of it. Happily 
there have not been any workers of miracles to glorify 
at the Coliseum and the Campo Vaccino, otherwise it 
would have been impossible to live in Rome. 

If nothing occurs to prevent it, I expect to pass 
the end of next winter (March and April) in Paris. 
Will you permit me then to fill up all the gaps in 
my correspondence from the Rue d'Anjou ? x I count 
always upon your friendly and indulgent kindness. 
But shall you extend this so far as to give me a sign of 
life before the close of my stay in Italy ? I do not 
know. In any case, letters addressed postc restantc, 
Florence, will reach me till the ist of next September. 

I beg you, Madame la Princesse, to accept the expres- 
sion of my profound and most devoted respect. 

F. Liszt. 

Albano, June 4th, 1839. 

Will you be good enough to remember me affection- 
ately to (Madame) your sister and to Mr. d'Aragon ? 

1 Here the Princess lived. 


19. To Robert Schumann.* 

Albano, June $th, 1839. 

My dear Monsieur Schumann, 

At the risk of appearing very monotonous, I 
must again tell you that the last pieces you were so 
kind as to send me to Rome appear to me admirable 
both in inspiration and composition. The Fantaisie 
dedicated to me is a work of the highest kind — and 1 
am really proud of the honour you have done me in 
dedicating to me so grand a composition. 1 I mean, 
therefore, to work at it and penetrate it through and 
through, so as to make the utmost possible effect 
with it. 

As to the Kinderscenen, I owe to them one of the 
greatest pleasures of my life. You know, or you don't 
know, that I have a little girl of three years old, whom 
everybody agrees in considering angelic (did you ever 
hear such a commonplace ?). Her name is Blandine- 
Rachel, and her surname Moucheron.\ It goes without 
saying that she has a complexion of roses and milk, 
and that her fair golden hair reaches to her feet just 
like a savage. She is, however, the most silent child, 
the most sweetly grave, the most philosophically gay 
in the world. I have every reason to hope also that 

* From a copy from the Royal Library in Berlin. 
1 Op. 17, C dur. With the motto :— 

" Durch alle Tone tonet (" Through all the sounds of nature, 
Im bunten Erdentraum In earth's fair dream of joy, 

Ein leiser Ton gezogen An under-current soundeth 

Fur den, der heimlich lauschet." For him whose ears can hear.") 

f Pet name; literally, "little fly." 

VOL. I. 3 


she will not be a musician, from which may Heaven 
preserve her ! 

Well, my dear Monsieur Schumann, two or three 
times a week (on fine and good days !) I play your 
Kinderscenen to her in the evening ; this enchants her, 
and me still more, as you may imagine, so that often 
I go over the first repeat twenty times without going 
any further. Really I think you would be satisfied 
with this success if you could be a witness of it ! 

I think I have already expressed to you, in one of 
my former letters, the desire I felt to see you write 
some ensemble pieces, Trios, Quintets, or Septets. Will 
you pardon me for pressing this point again ? It 
seems to me that you would be more capable of doing it 
than any one else nowadays. And I am convinced that 
success, even commercial success, would not be wanting. 

If between now and next winter you could complete 
some ensemble work, it would be a real pleasure to 
me to make it known in Paris, where that sort of 
composition, when well played, has more chance of 
success than you perhaps think. I would even gladly 
undertake to find a publisher for it, if you liked, which 
would moreover in no wise prevent you from disposing 
of it for Germany. 

In the interim I mean to play in public your Camaval, 
and some of the Davidsbiindlertanze and of the Kinder- 
scenen. The Kreisleriana, and the Fantaisie which is 
dedicated to me, are more difficult of digestion for the 
public. I shall reserve them till later. 

Up to the present time I only know the following 
works of yours : — 

Impromptus on a theme by Clara Wieck. 


Pianoforte Sonata, dedicated to Clara. 

Concerto without orchestra. 

Etudes Symphoniques : Davidsbiindlertanze ; Kreis- 

Carnaval. Kinderscenen and my Fantaisie. 

If you would have the kindness to complete your 
works to me it would be a great pleasure to me ; I 
should like to have them bound all together in three 
or four volumes. Haslinger, on his side, will send you 
my Etudes and my other publications as they come out. 

What you tell me of your private life has interested 
and touched me deeply. If I could, I know not how, 
be in the least pleasant or useful to you in these 
circumstances, dispose of me as you will. Whatever 
happens, count on my absolute discretion and sincere 
devotion. If I am not asking too micch, tell me if it is 
Clara of whom you speak. But if this question should 
seem to you misplaced, do not answer it. 

Have you met at Leipzig Mr. Frank, 1 at the present 
moment editor of the Leipzig Allgemeine Zeitung ? 
From the little I know of him (for he has been much 
more intimate with Chopin and Hiller than with me) I 
think he is capable of understanding you. He has left 
a charming impression behind him in Rome. If you 
see him, give him my affectionate regards. 

My plans remain the same. I still intend" to be in 
Vienna at the beginning of December, and in Paris at 
the end of February. I shall be capable of coming to 
look you up in Leipzig if you will let me make the 
journey from Paris with you. Try ! 

1 Dr. Hermann Frank edited Brockhaus' Allgemeine Zeitung for a 


Adieu, my dear Monsieur Schumann ; write soon 
(address care of Ricordi, Florence : I shall be in the 
neighbourhood of Lucca till the middle of September), 
and depend always on my sincere esteem and lively 

Yours in all friendship, 

F. Liszt. 

20. To Breitkopf and Hartel. 

[Milan, June, 1839.] 


About three weeks ago I gave to Mr. Ricordi 
(who was on his way to Rome) the proofs of the two 
Symphonies you addressed to me. I hope they have 
reached you by now. Forgive me for having kept them 
so long, and also for having corrected them with so 
much care. But, firstly, they did not reach me till 
about the 20th of February, and then I did not know 
how to send them to you direct, for the diligences in 
this happy country are so insecure. I am therefore of 
necessity (though very unwillingly) behindhand. 

Allow me to ask you for a second proof (for it is of 
great consequence to me that the edition should be as 
correct as possible), and this time I will beg you to 
send me three proofs of each Symphony, so that I may 
forward one to Paris and the other to London. Probably 
there will not be any more corrections to make in this 
second proof, and in that case I will let you know in 
two words (without returning your proof), telling you 
at the same time the date of publication. 

My intention being to visit Vienna, Munich, and 


perhaps Leipzig at the beginning of next year (before 
going to England in the month of April), I shall take 
advantage of this opportunity to let the Symphonies be 
heard at my concerts, so as to give them a certain 

I have looked through the Lieder you have been good 
enough to send me. I shall certainly do the Adelaide, 
however difficult it may seem to me to transcribe simply 
and elegantly. As regards the others, I am afraid I 
cannot find the necessary time. Moreover, that good 
Haslinger overwhelms me with Schubert. I have just 
sent him twenty-four more new songs (Schwanengesang 
and Winterreise), and for the moment I am rather tired 
with this work. 

Would you be so kind as to send me, at the same 
time with the proofs of the Beethoven Symphonies, 
Mr. Mendelssohn's " Preludes and Fugues " ? It is an 
extremely remarkable work, and it has been impossible 
to get it in Italy. I shall be greatly obliged if you 
will send it me. 

When you see Mr. Schumann please remember me 
very kindly to him. I have received the Fantaisie 
which he has done me the honour to dedicate to me, 
and the Kinder scenen. Don't you think you ought to 
publish a book of Studies by him ? I should be 
extremely curious to make acquaintance with them. 
All his works interest me in a high degree. It would be 
difficult for me to say as much of many of the composi- 
tions of my respected colleagues, with some exceptions. 
I beg to remain, Gentlemen, 

Yours most sincerely, 

F. Liszt. 


Address the Symphonies to Mr. Ricordi, Florence. 
From the 15th of June till the 1st of September I shall 
be in the neighbourhood of Lucca. Ricordi's address 
is the safest. 

21. To the Beethoven Committee at Bonn.* 


As the subscription for Beethoven's monument 
is only getting on slowly, and as the carrying out of 
this undertaking seems to be rather far distant, I 
venture to make a proposal to you, the acceptance of 
which would make me very happy. 1 

I offer myself to make up, from my own means, the 
sum still wanting for the erection of the monument, and 
ask no other privilege than that of naming the artist 
who shall execute the work. That artist is Bartolini 
of Florence, who is universally considered the first 
sculptor in Italy. 

I have spoken to him about the matter provisionally, 
and he assures me that a monument in marble (which 
would cost about fifty to sixty thousand francs) could 

* Printed in L. Ramann's Biography of Liszt, vol. i. 

1 In Bonn, Beethoven's birthplace, a committee had been formed to 
erect a Beethoven monument. Yet, in spite of the assent which met 
the proposal, the contributions flowed in so meagrely — Paris, for 
example, contributed only 424 francs 90 centimes — that Liszt, on 
reading this in a paper, immediately formed the noble resolution 
mentioned in the above letter. " Such a niggardly almsgiving, got 
together with such trouble and sending round the hat, must not be 
allowed to help towards building our Beethoven's monument ! " he 
wrote to Berlioz. Thus the German nation has in great measure to 
thank Franz Liszt for the monument erected to its greatest composer 
at Bonn. 


be finished in two years, and he is ready to begin the 
work at once. I have the honour to be, etc., 

Franz Liszt. 

Pisa, October yd, 1839. 

22. To Count Leo Festetics in Pest.* 

Dear Count, 

Shall you like to have me again at Pest this 
year ? I know not. In any case you are threatened 
with my presence from the iSth to the 22nd of next 
December. I shall come to you a little older, a little 
more matured, and, permit me to say, more finished an 
artist, than I was when you saw me last year, for since 
that time I have worked enormously in Italy. I hope 
you have kept me in remembrance, and that I may 
always count on your friendship, which is dear to 


What joy, what an immense happiness it will be to 
be once more in my own country, to feel mysell 
surrounded by such noble and vigorous sympathies, 
which, thank God, I have done nothing to forfeit 
in my distant and wandering life. What feelings, 
what emotions will then fill my breast ! All this, dear 
Count, I will not attempt to express to you, for in 
truth I should not know how. Let it suffice you to 
know that the love of my country, of my chivalrous and 
grand country, has ever lived most deeply in my heart ; 
and that, if unhappily it does not seem likely that I 
can ever show to my country what a love and devotion 

* Printed in F. von Schober's "Letters about Liszt's Sojourn in 


I feel for it, the sentiments will remain none the less 
unchanged in my heart. 

But I will not tire you any longer with myself and 
my sentiments. 

I forgot to tell you that for nearly a week I have 
been confined to my bed with a very severe fever, 
which might easily have become more serious still. 
My second concert was obliged to be put off on account 
of it. To-day my doctor has given me permission to 
play on Wednesday. I don't really know whether I 
shall be able to do it, for my hand trembles fearfully. 

Excuse this horrible writing, but I did want to send 
you a few words. It is a sort of anticipation of Pest, 
which is sweet to me. 

A revoir then very soon, dear Count ; meanwhile 
believe me, as ever, yours most sincerely, 

F. Liszt. 

November 2\th, 1839, in bed. 

23. To Clara Wieck. 1 

Pest, December 25/A, 1839. 

How grateful I am, Mademoiselle, for the kind 
remembrance you keep of me ! And how much I am 
already rejoicing at the thought of seeing you and 
hearing you again soon in Leipzig ! I was so vexed 
not to be in Paris last winter when I knew you were 
going to spend some time there. Perhaps I should 
have been able to be of some little use to you there. 
You know that, at all times and in every country, I 
shall always be at your service. 

1 The great pianist, afterwards Schumann's wife. 


I should become too lengthy if I allowed myself to 
reply in detail to your kind questions about my new 
compositions. I worked immensely hard in Italy. 
Without exaggeration I think I have written four to 
five hundred pages of pianoforte music. If you have 
patience to hear half a quarter of them I shall be 
delighted to play them to you, so so. 

The " Studies after Paganini," which are dedicated 
to you, will only appear in two months' time ; but I will 
bring you the proofs, which have long been corrected, 
to Leipzig. 

Once more many thanks, and many tender and 
respectful wishes for everything that can contribute to 
your happiness. And above all a bientot. 

Yours in admiration and sympathy, 

F. Liszt. 

24. To Robert Schumann in Leipzig.* 

[Dresden, March 2Jt/i, 1840.] 

My dear Schumann, 

It is all splendid. Only I should prefer to play 
the Hexameron last, so as to finish with orchestra. 
Please, therefore, have the Etudes and the Carnaval 
put after the Mendelssohn Concerto. 1 

Best remembrances to Mendelssohn and Hiller ; and 
believe me yours ever, 

F. Liszt. 

I shall certainly return Monday morning, for on 

* Autograph in the Royal Library in Berlin. 

1 Refers to Liszt's third concert in Leipzig, on March 30th, 1840, 
for the benefit of the Orchestral Pension Fund. 


Sunday I am giving a concert for the poor here. But 
if it should de possible for me to come on Sunday . . . 
but I doubt it. 1 

25. To Franz von Schober in Vienna.* 

Metz, April yd, 1840. 

I did not get any news from you at Leipzig, 
dear Schober, as I expected. I am afraid I was very 
indiscreet in asking you to be so good as to undertake 
this work, which I should have valued so much, coming 
from you. 2 But I will not speak of it any more. If 
by any chance you have already done it I should be 
grateful to you to send it me — otherwise we will not 
speak of it any more. 

Do you know that I have been pursued by one constant 
regret during my journey, the regret not to have induced 
you to accompany me ? Your society has always been 
beneficial and strengthening to me : I do not know 
why, but I imagine that we should live smoothly 

1 Together with this letter a friend, Carl K[ragen ?], writes to 
Schumann : " He [Liszt] has played me the glorious Mendelssohn 
Concerto. It was divine ! To-morrow Tieck is to read Faust for 
Liszt at my mother's house, and Liszt is to play at our house with 
Lipinski! Do come for it! Ah, if you could only induce Mendels- 
sohn and his wife to come too ! " 

* The autographs of all the letters in this collection to Schober 
are in the possession of Frau Babette Wolf at Dresden.— Addressed 
to the poet and writer, an intimate and worthy friend of Franz 
Schubert. He became Councillor of Legation to Weimar, and died at 
Dresden in 1882. 

2 In answer to the distorted reports in various newspapers of Liszt's 
visit to Hungary (January, 1840), Schober, who had been an eye- 
witness, thought it right to clear up the misrepresentations, which he 
did in the form of "Letters about Liszt's Sojourn in Hungary"; 
these he published, but much later (Berlin, Schlesinger, 1843). 


together. Your qualities, your faults (if you have 
any), your character and temper, all please me and 
attach me to you. You know that I flatter myself I 
can understand and appreciate you. . . . Should you 
see any great difficulty in joining me somewhere next 
autumn — at Venice, for example — and in making a 
European tour with me ? Answer me frankly on this 
matter. And once more, the question of money need 
not be considered. As long as we are together (and 
I should like you to have at least three free years 
before you) my purse will be yours, on the sole 
condition that you consent to undertake the manage- 
ment of our expenses, — and that you are thoroughly 
convinced beforehand of the gratitude I shall feel 
towards you. 

Excuse me, my dear good friend, for entering so 
plainly into matters, but we have talked together too 
openly, it seems to me, for it to be possible that your 
delicate feeling on certain points should be wounded 
by this. 

I have sent back Kiss, of Dresden. He is a good 
fellow, but a little awkward, and wanting in a certain 
point of honour, without which a man is not a man as 
/ understand the word. So I am alone now, and am 
not going to have any one tacked on to me. A former 
pupil of mine, Monsieur Hermann, has undertaken to 
arrange my concerts, which is a great relief to me. 

A propos of concerts, I gave six (in nine days !) at 
Prague, three at Dresden, and the same number at 
Leipzig (in twelve days) — so I am perfectly tired out, 
and feel great need of rest. That was good, wasn't 


Adieu, my dear good friend — let me hear from you 
soon (address 19, Rue Pigalle, Paris), and depend 
entirely upon me — nunc et semper. 

Yours ever sincerely, 

F. Liszt. 

Will you be so good as to go to Diabelli's 1 when 
you pass by, and advise him again not to publish the 
third part of the Hungarian Melodies (which I sent 
him by Hartel) without first sending me a proof to 
Paris to correct. Adieu, 

Best remembrances to Kriehuber 2 and Lowy. Why 
does not the latter write to me ? 

26. To Maurice Schlesinger, 
Editor of the Gazette Musicale in Paris.* 


Allow me to protest against an inexact assertion 
in your last number but one : — 

" Messieurs Liszt and Cramer have asked for the 
Legion of Honour," etc. 

1 do not know if M. Cramer (who has just been 
nominated) has obtained the cross. 

In any case I think that you, like every one else, 
will approve of a nomination so perfectly legitimate. 

As to myself, if it be true that my name has figured 
in the list of candidates, this can only have occurred 
entirely without my knowledge. 

1 Music publisher in Vienna. 

2 A well-known Vienna painter and lithographer, from whom a 
number of Liszt portraits have come. 

* Given by L. Ramann, "Franz Liszt," vol. ii., I. 


It has always seemed to me that distinctions of this 
sort could only be accepted, but never " asked for." 

I am, sir, etc., 

F. Liszt. 

London, May 14//', 1840. 

27. To Franz von Schober. 

[London, May or June, 1840.] 

My worthy Friend, 

A fortnight ago my mother wrote me word that 
she had given several letters, which had come for me 
from Germany, to a gentleman who was to bring them 
to me to London. I suppose there was one from you 
among the number, but up to now I have not received 

Allow me to repeat once more the request, which 
I have already made to you, to come for some time 
with me (a year or two, and more if you can) ; for I 
feel deeply that, the more we are separated by time 
and space, the more my thoughts and my heart go out 
to .you. 1 have rarely felt this so strongly, and my 
wish to feel you settled with me grows daily stronger. 

Moreover the persuasion that I feel that we should 
pass a happy and serious life together, makes me again 
press you further. 

Try then to be at liberty as soon as possible, and 
once for all make a frank and friendly resolve. I 
assure you that it will not be difficult to ameliorate, 
by each other, our two lives, which in their different 
ways are sad and bad thus separated. 

Let me have two words in reply on this point — 


which, to tell the truth, is the only important one for 
us both at this moment. Speak quite freely to me, 
and depend on me thoroughly. 

Yours ever, 

F. Liszt. 

Address care of Erard, 18, Great Marlborough 

Need I again assure you that any question will not 
be a question between us ? 

28. To Franz von Schober. 

Stonehenge, Salisbury, August 29th, 1840. 

It is with an unspeakable feeling of sadness 
and vexation that I write to you to-day, my dear good 
friend ! Your letter had done me so much good ; I 
was so happy at the thought of our meeting at the end 
of the autumn at latest ; I wanted so to feel that I 
could rest on your arm, and that your heart, so full of 
kindness and brotherly help, was near me, — and, lo 
and behold ! I am obliged to give it up, or at least to 
put it off. . . . 

An unfortunate engagement which I have just re- 
newed, and which will keep me in England till the end 
of January, makes it impossible for me to say to you 
the one word which I wish to say, "Come!" — 

England is not like any other country ; the expenses 
are enormous. I really dare not ask you to travel 
with me here, for it would almost ruin us. Moreover 
we should hardly be able to be together, for I have 
three or four compulsory companions, from whom it is 
impossible for me to separate. 


I hoped to have done with all that by the beginning 
of October, but now I have to begin again in the 
middle of November. If I have time to make my 
journey to Russia this year it will be the utmost I can 
do, but it is a journey that I am in a way obliged to 
make after the gracious invitation of Her Majesty the 
Empress at Ems. On the 15th of next May I return 
again to London, probably by the steamer coming 
direct from St. Petersburg. 

Where shall I find you in a year — fifteen months ? 
It is very possible that I shall come and look for you 
in Vienna, but then I shall assuredly not leave without 
taking you with me. 

I have some thoughts of spending the following 
winter at Constantinople. I am tired of the West ; I 
want to breathe perfumes, to bask in the sun, to 
exchange the smoke of coal for the sweet smoke of the 
narghileh [Turkish pipe]. In short, I am pining for 
the East ! O my morning land ! O my Aborniko ! — 

My uncle writes that you have been very good and 
obliging to him. I thank you warmly. — Do you meet 
Castelli from time to time ? When you see him beg 
him from me to translate the article I published in the 
Paris Revue Musicale (of August 23rd) on Pagan ini, 
and to get it put into the T heater- Zeitung. I should be 
very glad also if it could be translated into Hungarian, 
for the Hirnok (excuse me if I make a mess of the 
word !), but I do not know who could do it. 

A propos of Hungarian ! I shall always value highly 
the work on my sojourn in Pest. Send it me as soon 
as you possibly can, and address it to Madame la 
Comtesse d'Agoult, 10, Rue Neuve des Mathurins, Paris. 


Most affectionate remembrances to Kriehuber. His 
two portraits of me have been copied in London. They 
are without doubt the best. 

Adieu, my dear excellent Schober. In my next 
letter I shall ask you about a matter of some conse- 
quence. It is about a Cantata for Beethoven, which I 
should like to set to music and to have it given at the 
great Festival which we expect to organise in 1842 for 
the inauguration of the Statue at Bonn. 

Yours ever most affectionately, 

F. Liszt. 

29. To Buloz,* 
Editor of the Revue des Deux Mondes. 


In your Revue Musicale for October last my 
name was mixed up with the outrageous pretensions 
and exaggerated success of some executant artists ; I 
take the liberty to address a few remarks to you on 
this subject. 1 

The wreaths thrown at the feet of Mesdemoiselles 
Elssler and Pixis by the amateurs of New York and 
Palermo are striking manifestations of the enthusiasm 
of a public ; the sabre which was given to me at Pest 
is a reward given by a nation in an entirely national 

* Published in Ramann's "Franz Liszt," vol. ii., 1. 

1 The enthusiastic demonstrations which had been made to him in 
Hungary, his native land, had been put into a category with the 
homage paid to singers and dancers, and the bestowal of the sabre 
of honour had been turned into special ridicule. Liszt repelled this 
with justifiable pride. 


In Hungary, sir, in that country of antique and 
chivalrous manners, the sabre has a patriotic significa- 
tion. It is the special token of manhood ; it is the 
weapon of every man who has a right to carry a 
weapon. When six of the chief men of note in my 
country presented me with it among the general 
acclamations of my compatriots, whilst at the same 
moment the towns of Pest and Oedenburg conferred 
upon me the freedom of the city, and the civic authori- 
ties of Pest asked His Majesty for letters of nobility 
for me, it was an act to acknowledge me afresh as a 
Hungarian, after an absence of fifteen years ; it was a 
rew T ard of some slight services rendered to Art in my 
country ; it was especially, and so I felt it, to unite me 
gloriously to her by imposing on me serious duties, and 
obligations for life as man and as artist. 

I agree with you, sir, that it was, without doubt, 
going far beyond my deserts up to the present time. 
Therefore I saw in that solemnity the expression of a 
hope far more than of a satisfaction. Hungary hailed 
in me the man/row whom she expects artistic illustrious- 
ness, after all the illustrious soldiers and politicians she 
has so plentifully produced. As a child I received 
from my country precious tokens of interest, and the 
means of going abroad to develop my artistic vocation. 
When grown up, and after long years, the young man 
returns to bring her the fruits of his work and the 
future of his will, the enthusiasm of the hearts which 
open to receive him and the expression of a national 
joy must not be confounded with the frantic demonstra- 
tions of an audience of amateurs. 

In placing these two things side by side it seems to 

VOL. I. 4 


me there is something which must wound a just national 
pride and sympathies by which I am honoured. 

Be so kind as to insert these few lines in your next 
issue, and believe me, sir, 

Yours obediently, 

Franz Liszt. 

Hamburg, October 26th, 1840. 

30. To Franz von Schober. 

I will write German to you, dear Schober, in 
order to tell you all the quicker how much your letter 
pleased me. I have to thank it for a really happy hour ; 
and that comes so rarely in my intolerable, monotonous 
life ! For a fortnight past I have again put my neck 
into the English yoke. Every day which God gives — 
a concert, with a journey, previously, of thirty to 
fifty miles. And so it must continue at least till the 
end of January. What do you say to that ? — 

If I am not more than half-dead, I must still go at 
the end of February to Berlin and Petersburg, — and 
come back to London by the first steamer at the 
beginning of May. Then I think I shall take a rest. 
Where and how I do not yet know, and it depends 
entirely upon the pecuniary results of my journeys. I 
should like to go to Switzerland, and thence to Venice, 
but I can't yet say anything definite. 

. — .1 have to-day written a long letter to Leo 
Festetics. I am hungering and thirsting to go back to 
Hungary. Every recollection of it has taken deep 
root in my soul. . . . And yet I cannot go back ! 

I am grieved that you can tell me nothing better of 
Lannoy. I cannot understand how that is possible. 


The news of the Queen has given me great pleasure 
—if you hear anything more about her let me know. 
I have a kind of weakness for her. 

About the Cantata I will write to you fully later. 

Farewell, and be happy if possible, dear Schober ; 
write again soon, and remain ever my friend. 

F. L. 

Excuse the spelling and writing of these lines ! You 
know that I never write German ; Tobias 1 is, I think, 
the only one who gets German letters from me. 

Man-chester. December $tk, 1840. 

31. To Breitkopf and Hartel. 

London, May Jtli, 1841. 

Schlesinger has just told me that Mendelssohn's 
Melodies which I sent you from London have come out. 
I can't tell you, my dear Mr. Hartel, how much I am put 
out by this precipitate publication. Independently of the 
material wrong it does me (for before sending them to 
you these Melodies were sold in London and Paris), I 
am thus unable to keep my word to Beale and Richault, 
who expected to publish them simultaneously with 

The evil being irremediable I have only thought 
how to get a prompt vengeance out of it. You will 
tell me later on if you think it was really a Christian 

The matter is this : I have just added a tremendous 
Cadenza, three pages long, in small notes, and an 

1 Tobias Haslinger, the Vienna music publisher. 


entire Coda, almost as long, to Beethoven's Adelaide. 
I played it all without being hissed at the concert given 
at the Paris Conservatoire for the Beethoven Monument, 
and I intend to play it in London, and in Germany 
and Russia. Schlesinger has printed all this medley, 
such as it is. Will you do the same ? In that case, 
as I care chiefly for your edition, I will beg you to 
have the last Coda printed in small notes as an Ossia, 
without taking away anything from the present edition, 
so that the purists can play the integral text only, if 
the commentary is displeasing to them. 

It was certainly a very delicate matter to touch 
Adelaide, and yet it seemed to me necessary to venture. 
Have I done it with propriety and taste ? Competent 
judges will decide. 

In any case I beg you not to let any one but Mr. 
Schumann look over your edition. 

In conclusion allow me to remind you that I was 
rather badly paid for Adelaide formerly, and if you 
should think proper to send me a draft on a London 
bank, fair towards you and myself, I shall always 
receive it with a " new pleasure " — to quote the favourite 
words of His Majesty the King of the French. 

With kind regards, believe me, my dear sir, yours 
most sincerely, 

F. Liszt. 

Be so kind as to remember me very affectionately to 
Mendelssohn. As for Schumann, I shall write to him 
direct very shortly. 


32. To Simon Lowy in Vienna.* 

London, May 20th, 1841. 
I am still writing to you from England, my dear 
friend. Since my last letter (end of December, I think) 
I have completed my tour of the three kingdoms (by 
which I lose, by the way, ^"iooo sterling net, on 
^"1500 which my engagement brought me!), have 
ploughed my way through Belgium, with which I have 
every reason to be satisfied, and have sauntered 
about in Paris for six weeks. This latter, I don't hide 
it from you, has been a real satisfaction to my self-love. 
On arriving there I compared myself (pretty reason- 
ably, it seems to me) to a man playing ecarte for the 
fifth point. Well, I have had king and vole, — seven 
points rather than five 1 ! 

My two concerts alone, and especially the third, at 
the Conservatoire, for the Beethoven Monument, are 
concerts out of the ordinary run, such as / only can 
give in Europe at the present moment. 

The accounts in the papers can only have given you 
a very incomplete idea. Without self-conceit or any 
illusion, I think I may say that never has so striking 
an effect, so complete and so irresistible, been pro- 
duced by an instrumentalist in Paris. 

A propos of newspapers, I am sending you, following 
this, the article which Fetis (formerly my most re- 
doubtable antagonist) has just published in the Gazette 
Musicale. It is written very cleverly, and summarises 

* Autograph in the possession of Madame Emilie Dore in Vienna. 
1 The "fifth " is the highest in this game, so Liszt means that he 



the question well. If Fischhof 1 translated it for 
Bauerle 2 it would make a good effect, I fancy. How- 
ever, do what you like with it. 

I shall certainly be on the Rhine towards the end 
of July, and shall remain in that neighbourhood till 
September. If Fischhof came there I should be 
delighted to see him and have a talk with him. Till 
then give him my most affectionate compliments, and 
tell him to write me a few lines before he starts. 

In November I shall start for Berlin, and shall pass 
the whole of next winter in Russia. 

Haslinger's behaviour to me is more than inexcusable. 
The dear man is doing a stupidity of which he will 
repent soon. Never mind ; I will not forget how 
devoted he was to me during my first stay in Vienna. 

Would you believe that he has not sent me a word 
in reply to four consecutive letters I have written to him ? 
If you pass by Graben will you be so kind as to tell him 
that I shall not write to him any more, but that I 
expect from him, as an honest man of business, if not 
as a friend, a line to tell me the fate of two manuscripts 
(Hongroises, and Canzone Veneziane) which I sent 

I have just discovered a new mine of Fantaisies — and 
I am working it hard. Norma, Don Juan, Sonnambula, 
Maometto, and Moise heaped one on the top of the 
other, and Freischutz and Robert le Diable are pieces of 
96, and even of 200, like the old canons of the Republic 
of Geneva, I think. When I have positively finished 
my European tour I shall come and play them to you 

1 A musician, a Professor at the Vienna Conservatorium. 
- Editor of the Theater-Zeitung (Theatrical Times). 


in Vienna, and however tired they may be chere of 
having applauded me so much, I still feel the power 
to move this public, so intelligent and so thoroughly 
appreciative, — a public which I have always considered 
as the born judge of a pianist. 

Adieu, my dear Lowy — write soon, and address, till 
June 15th, at 18, Great Marlborough Street, and after 
that Paris. 

Yours most sincerely, 

F. Liszt. 

Is the Ungher l at Vienna ? Will you kindly give 
or send to her the letter which follows ? 

Have you, yes or no, sent off the two amber pieces 
which I gave you at the time of my departure ? I 
have been to fetch them from the Embassy, but they 
were not there. Let me have two words in reply 
about this. 

33. To Franz von Schober. 

Truly, dear friend, I should like pages, days, 
years, to answer your dear letter. Seldom has any- 
thing touched me so deeply. Take heart for heart, 
and soul for soul, — and let us be for ever friends. 

You know how I am daily getting more concise ; 
therefore nothing further about myself, nothing further 
about Berlin. To-morrow, Thursday, at 2 o'clock, I 
start for Petersburg. 

I have spoken to A. It is impossible on both sides. 
When we meet and you are perfectly calm, we will go 

1 Caroline Ungher, afterwards Ungher-Sabatier a celebrated 


into details. I still hope to meet you next autumn, 
either in Florence or on the Rhine. 

Leo * has written to me again. Write to me at 
once to Konigsberg, to tell me where to address my 
next letter to you. But write directly — simply your 

I have sent all the proofs of your pamphlet to 
Brockhaus. Be so good as to give him direct your 
final orders in regard to this publication. I shall be 
so pleased to have some copies of it while I am in 
Petersburg. The subject is very congenial to me; I 
thank you once more most warmly for it. 

One more shake of the hand in Germany, dearest 
friend, and in heartfelt love yours ever, 

F. Liszt. 

Remember me kindly to Sabatier, 2 and don't quarrel 
with him about me. To Caroline always the same 
friendship and devotion. 

Berlin, March $rd, 1842. 

34. To the Faculty of Philosophy at the 
University of Konigsberg.* 

Much esteemed and learned Gentlemen, 

It is in vain for me to attempt to express to 
you the deep and heartfelt emotion you have aroused 
in me by your rare mark of honour. 

1 Count Festetics. 

2 The husband of Caroline Ungher, the celebrated singer previously 

* Printed in L. Ramann's "Franz Liszt," vol. ii., 1. 


The dignity of Doctor, granted by a Faculty in 
which, as in yours, men of European celebrity assemble, 
makes me happy, and would make me proud, were I 
not also convinced of the sense in which it is granted 
to me. 

I repeat that, with the honourable name of Teacher 
of Music (and I refer to music in its grand, complete, 
and ancient signification), by which you, esteemed 
gentlemen, dignify me, I am well aware that I have 
undertaken the duty of unceasing learning and untiring 

In the constant fulfilment of this duty — to maintain 
the dignity of Doctor in a right and worthy manner, 
by propagating in word and deed the little portion of 
knowledge and technical skill which I can call my 
own, as a form of, and a means to, the True l and the 

In the constant fulfilment of this duty, and in any 
results which are granted to me, the remembrance of 
your good wishes, and of the touching manner in which 
a distinguished member of your Faculty 2 has informed 
me of them, will be a living support to me. 

Accept, gentlemen, the expression of my highest 
esteem and respect. 

F. Liszt. 

Mittau, March iSt/i, 1842. 

1 "The beautiful is the glory of the true, 

Art is the radiancy of thought." (Author's note.) 

2 Professors Rosen kranz and Jacobi invested Liszt with the 
Doctor's Diploma. 


35. To Court-Marshal Freiherr vox Spiegel 
at Weimar.* 
Monsieur le Baron, 

It is very difficult to reply to so gracefully 
flattering a letter as your Excellency has been good 
enough to write to me. 

I must nevertheless say that I wish with all my 
heart and in all ways that I could answer it. I shall 
reach Weimar, bag and baggage, towards the middle 
of October, and if I succeed in communicating to others 
a little of the satisfaction I cannot fail to find there, 
thanks to the gracious kindness of their Highnesses 
and the friendly readiness of your Excellency, I shall 
be only too glad. 

Meanwhile I beg to remain, Monsieur le Baron, 
with respectful compliments, 

Yours obediently, 
Cologne, September 12th, 1842. • - Liszt - 

36. To Carl Filitsck.j 

Compiegne, Wednesday Morning [1842 or 1843]. 

Dearly beloved Conjurer, 

How sorry I am to disappoint^ you of our 
usual lesson to-morrow ! Your " false skips " would 

* Given by L. Ramann, " Franz Liszt/' vol. ii., I. 

f Autograph in the possession of Count Albert Amadei in Vienna. 
— Addressed to the talented 3 T oung pianist, born at Hermannstadt in 
the Siebenbiirgen in 1830, died at Venice 1845, studied with Chopin and 
Liszt in Paris in 1842-43, and created a sensation with his concerts 
both there and in London, Vienna, and Italy. According to Lenz, Liszt 
said of him, " When the youngster goes travelling I shall shut up shop ! " 

% Literally, "to make a false skip,'' a play of words with the next 


be a great deal pleasanter to me ! but, unless we could 
manage to put you where we could hear you from the 
towers of Notre Dame to the Cathedral of Cologne, 
there is a material impossibility in continuing our sort 
of lessons, considering that by to-morrow evening I 
shall already be at Cologne. 

If I return, or when I return — I really don't know. 
Whatever happens, keep a little corner of remembrance 
of me, and believe me ever yours affectionately, 

F. Liszt. 

Affectionate remembrances to your brother Joseph. 
Farewell again. I embrace you affectionately. 

37. To Fraxz von Schober in Paris. 

Berlin, March 4th, 1844. 
You are a dear, faithful friend, and I thank you 
with all my heart for your kind letter. God reward 
you for your love to such a jaded, worn-out creature 
as I am! I can only assure you that I feel it deeply 
and gratefully, and that your words soothe many 
spasmodic annoyances. 

At the end of this month we shall certainly see 
each other in Paris. Villers 1 is coming also. In case 
Seydlitz is still there make my excuses to him, and 
tell him that, owing to my delay at Dresden, I only 
got his letter yesterday. I will answer him immediately, 
and will address to Lefebre, as he tells me to do. 

I have had several conferences with the H[ereditary] 

1 Alexander von Villers, a friend of Liszt's, attache of the Saxon 
Embassy in Vienna. 


G[rand] D[uke] and Eckermann. 1 Our business seems 
to me to stand on a firm footing. Next autumn the 
knots will be ready to tie. 2 

My room is too full. I have got a tremendous fit 
of Byron on. Be indulgent and kind as ever ! 

Remember me to the Sabatiers, and stick to me ! 
Yours most affectionately, 

F. Liszt. 

3S. To Franz Kroll. 3 

My dear good Kroll, 

What a flrstrate man you are to me, and what 
pleasure your letter has given me ! Probably you 
already know that I also have been figuring as an 
invalid these last five weeks. — God be thanked and 
praised that I am already pretty fairly on my legs 
again, without rheumatism in the joints or gout ! In 
a few days I shall begin my provincial tour (Lyons, 
Marseilles, Toulouse, Bordeaux), and then towards the 
end of August by steamer to Stockholm and Copen- 
hagen. Weymar, our good, dear Weymar, will again 
be our Christmas Day ! Oh what beautiful apples 
and trifles we will hang on our Christmas tree ! and 
what talks and compositions, and projects and plans ! 
Only don't you disappoint me, and mind you come 
fresh and well. Leave the bad looks "to me, and see 
that you fill out your cheeks properly. This winter 

1 The editor of Goethe's " Gesprachen." 

- Refers probably to Schober's subsequent appointment at Weimar. 

3 Pupil and friend of Liszt's (1820 — 1877); since 1849 settled in 
Berlin as a pianoforte teacher; rendered great service by his edition 
of Bach's " Das wohltemperirte Clavier." 


we must be industrious, and struggle through much 

Your Mazurkas are most excellent and talented. 
You have put a great deal into them — and, if you will 
allow me to speak quite freely — perhaps too much into 
them, for much of it halts. Although the dedication 
to me is both pleasing and gratifying, I cannot help 
thinking that it would be to your interest not to publish 
anything before next spring. Take advantage of being 
as yet unknown, and give to the public from the begin- 
ning a proper opinion of your talent by a collective 
publication. Write a couple of pleasing, brilliant Studies 
— perhaps also a Notturno (or something of that sort), 
and an effective Fantasia on some conspicuous theme. 
Then let Schlesinger, Hartel, or Mechetti (to whom I 
will most gladly speak about your works beforehand) 
publish the six pieces — your Concerto and the C major 
Study, together with the later pieces — all together, so 
that publisher, critic, artist, and public all have to 
do with them at the same time. Instead of dishing 
up one little sweetmeat for the people, give them a 
proper dinner. I am very sorry I did not follow this 
plan myself; for, after much experience, I consider it 
far the best, especially for pianoforte works. In 
Weymar we will talk more fully and definitely about 
this. Conradi 1 is also to come. I don't require the 
Huguenot Fantasia at present. He will have time 
enough for it in Weymar. En attendant;' Schlesinger 
will give him a modest payment for the work he has 

1 Musician and friend in Berlin. 

* A German letter, so Liszt's own French expression is kept. 


Please kindly see about the enclosed letters lor 
Freund as soon as possible. 

With all good wishes, I am, dear Kroll, 

Yours most sincerely, 

F. Liszt. 

Port Marly, June wth, 1844. 

39. To Freund.* 

I am shockingly behindhand with you, my dear 
Freund, but I won't make any excuses, although an 
illness of more than a month comes rather a propos to 
justify me fully and even more. 

Herewith letters and cards for Baron Lannoy 
(Haslinger will give you the address), for Prince Fritz 
Schwarzenberg, and for Doctor Lowe, Kriehuber, and 
Simon Lowy, who will soon be back in Vienna. I 
shall be glad if you will give them in any case, whether 
now or later. If you want to give me a pleasure you 
will go and see my uncle Eduard Liszt, and try to 
distract him a little. 

I detest repeating myself in letters so much that I 
can't write over again to you my plans of travel up to 
the beginning of winter ; these I have just told Kroll 
in full, and you already know them from Hanover. 

Teleky, Bethlen, 1 and Corracioni are here, and form 
a kind of colony which I call the Tribe of the Huns ! 

Probably Teleky will come and pick me up at 
Weymar towards the middle of February, and we shall 

* Autograph in the possession of Professor Hermann Scholtz in 

1 Friends of Liszt's. 


go together to Vienna and Pest — not forgetting 
Temesvar, Debreczin, and Klausenburg ! 

I hope then to find you in Vienna, and shall perhaps 
be able to give you a good lift. 

Meanwhile acknowledge the receipt of these lines : 
enjoy yourself, and remain to me always friend Frerntd* 
Yours most sincerely and affectionately, 

F. Liszt. 

Port Marly, June nth, 1S44. 

40. To Franz von Schober. 

Gibraltar, March 2>rd, 1845. 
Your letter pleases me like a child, my dear 
good Schober ! Everything comes to him who can 
wait. But I scarcely can wait to congratulate you and 
to see you again in Weymar. 1 Unhappily it is not 
probable that I can get there before the end of next 
autumn. Keep me in your good books, therefore, until 
then, and accept my best thanks in advance for all you 
will have done for me and fought for me till then, both 
in Weymar and in Hungary ! 

With regard to Vienna, Lowy writes me almost 
exactly the same as you. To tell the truth I am 
extremely thankful to the Vienna public, for it was 
they who, in a critically apathetic moment, roused and 
raised me ; 2 but still I don't feel the slightest obligation 

* A play on his name Freund, which means friend. 

1 As Councillor of Legation there. 

2 When he came from Venice to Vienna in the spring of 1838, to 
give a concert for the benefit of his Hungarian compatriots after the 
inundations, on which occasion, although Thalberg, Clara Wieck, 
and Henselt had been there before him, he aroused the utmost 


to return there a year sooner or later. My Vienna 
journey will pretty much mark the end of my virtuoso 
career. I hope to go thence (in the month of August, 
1846) to Constantinople, and on my return to Italy 
to pass my dramatic Rubicon or Fiasco. 

So much for my settled plans. 

What precisely is going to become of me this coming 
spring and summer I do not exactly know. In any 
case to Paris I will not go. You know why. My 

incredibly wretched connection with has perhaps 

indirectly contributed more than anything to my 
Spanish-Portuguese tour. I have no reason to regret 
having come, although my best friends tried to dis- 
suade me from it. Sometimes it seems to me that my 
thoughts ripen and that my troubles grow prematurely 
old under the bright and penetrating sun of Spain. . . . 

Many kind messages to Eckermann and Wolff. 1 I 
will write to the latter from the Rhine, where I shall 
at any rate spend a month this summer (perhaps with 
my mother and Cosima). If he is still inclined to 
return to his and your countries (Denmark and Sweden), 
we can make a nice little trip there as a holiday 

Good-bye, my dear excellent friend. Allow me to 
give you as true a love as I feel is a necessity of my 
heart ! Ever yours, 

F. Liszt. 

What is Villers doing? If you see him tell him to 
write me a line to Marseilles, care of M. Boisselot, 
Pianoforte Maker. 

1 Professor Wolff, editor of " Der poetische Hausschatz." 


41. To Franz Kroll at Glogau. 

Weymar, March 26'th, 1845. 
My very dear Kroll, 

The arrival of your letter and the packet which 
accompanied it decided a matter of warm contest 
between our friend Lupus 1 and Farfa-Magne-quint- 
quatorze ! 2 It consisted in making the latter see the 
difference between the two German verbs " verwundern" 
(to amaze) and " bewundern " (to admire), and to 
translate clearly, according to her wits, which are 
sometimes so ingeniously refractory, what progress 
there is from Verwundern (amazement) to Erstaunen 
(astonishment). Imagine, now, with what a wonderful 
solution of the difficulty your packet and letter fur- 
nished us, and how pleased I was at the following 
demonstration : — 

" We must admire (bewundern) Kroll's fine feeling of 
friendship ; we may be amazed {verwundern) at the 
proof he has given of his industry in copying out 
the Mass ; should this industry continue we shall first 
of all be astonished (erstaunen), and by degrees, through 
the results he will bring about, we again attain to 
admiration (Bewunderung)" 

I don't know how you will judge, critically, of this 
example, but what is certain is that it appeared to be 
quite conclusive to our auditory. 

Ernst 3 has just been spending a week here, during 
which he has played some hundred rubbers of whist 

1 Presumably Liszt's friend, Professor Wolff (1791 — 1851). 

2 For whom this name was intended is not clear. 
8 The celebrated violinist (1814-65). 

VOL. I. 5 


at the " Erbprinz." His is a noble, sweet, and delicate 
nature, and more than once during his stay I have 
caught myself regretting you for him, and regretting 
him for you. Last Monday he was good enough to 
play, in his usual and admirable manner, at the concert 
for the Orchestral Pension Fund. The pieces he had 
selected were his new Concerto pathetique (in F£ minor) 
and an extremely piquant and brilliant Caprice on 
Hungarian Melodies. (This latter piece is dedicated to 
me.) The public was in a good humour, even really 
warm, which is usually one of its least faults. 

Milde, who is, as you know, not much of a talker, 
has nevertheless the tact to say the right thing some- 
times. Thus, when w T e went to see Ernst off at the 
railway, he expressed the feeling of us all — "What a 
pity that Kroll is not here ! " 

For the most part you have left here the impression 
which you will leave in every country — that of a man 
of heart, talent, tact, and intellect One of these 
qualities alone is enough to distinguish a man from the 
vulgar herd ; but when one is so well born as to possess 
a quartet of them it is absolutely necessary that the 
will, and an active will, should be added to them in 
order to make them bring out their best fruits, — and 
this I am sure you will not be slow to do. 

Your brother came through here the day before 
yesterday, thinking he should still find you here. I 
have given him your address, and told him to inquire 
about you at Schlesinger's in Berlin, where he ex- 
pects to be on the 8th of April ; so do not fail to let 
Schlesinger know, in one way or another, when you 
get to Berlin. 


As M. de Zigesar 1 was obliged to start in a great 
hurry for The Hague, in the suite of the Hereditary 
Grand Duchess, I will wait till his return to send you 
the letters for Mr. de Witzleben. I will address them 
to Schlesinger early in April. 

We are studying hard at the Duke of Coburg's 
opera Tom] oder die Vergeltung* which we shall give 
next Saturday. The score really contains some pretty 
things and which make a pleasing effect ; unluckily I 
cannot say as much for the libretto. 

Your castle in the air for May we will build up on a 
solid basis in Weymar ; for I am quite calculating on 
seeing you then, together with our charming, good, 
worthy friend Conradi. Will you please, dear Kroll, 
tell Mr. Germershausen and his family how gratified I 
am with their kind remembrance ? When I go to 
Sagan I shall certainly give myself the pleasure of 
calling on him. 

Believe me ever your very sincere and affectionate 

F. Liszt. 

42. To Abbe de Lamennais.| 

Permit me, illustrious and venerable friend, to 
recall myself to your remembrance through M. Ciabatta, 
who has already had the honour of being introduced to 
you last year at my house. He has just been making 
a tour in Spain and Portugal with me, and can give 
you all particulars about it. I should have been glad 
also to get him to take back to you the score, now 

1 The Intendant at Weimar. 

* Toni, or the Requital. 

f Autograph in the possession of M. Alfred Bovet at Valentigney. 


completed, of the chorus which you were so good as 
to entrust to me ("The iron is hard, let us strike ! "), 
but unfortunately it is not with music as with painting 
and poetry : body and soul alone are not enough to 
make it comprehensible ; it has to be performed, and 
very well performed too, to be understood and felt. 
Now the performance of a chorus of the size of that is 
not an easy matter in Paris, and I would not even risk 
it without myself conducting the preliminary rehearsals. 
While waiting till a favourable opportunity offers, allow 
me to tell you that I have been happy to do this work, 
and that I trust I have not altogether failed in it. Were 
it not for the fear of appearing to you very indiscreet, 
I should perhaps venture to trespass on your kindness 
for the complete series of these simple, and at the same 
time sublime, compositions, of which you alone know 
the secret. Three other choruses of the same kind as 
that of the Blacksmiths, which should sum up the most 
poetical methods of human activity, and which should 
be called (unless you advise otherwise) Labourers, 
Sailors, and Soldiers, would form a lyric epic of which 
the genius of Rossini or Meyerbeer would be proud. I 
know I have no right to make any such claim, but your 
kindness to me has always been so great that I have 
a faint hope of obtaining this new and glorious favour. 
If, however, this work would give you even an hour's 
trouble, please consider my request as not having been 
made, and pardon me for the regret which I shall feel 
at this beautiful idea being unrealised. 

As business matters do not necessarily call me to 
Paris, I prefer not to return there just now. I expect 
to go to Bonn in the month of July, for the inaugura- 


tion of the Beethoven Monument, and to have a 
Cantata performed there which I have written for this 
occasion. The text, at any rate, is tolerably new ; it 
is a sort of Magnificat of human Genius conquered by 
God in the eternal revelation through time and space, — a 
text which might apply equally well to Goethe or Raphael 
or Columbus, as to Beethoven. At the beginning of 
winter I shall resume my duties at the Court of Weymar, 
to which I attach more and more a serious importance. 

If you were to be so very good as to write me a few 
lines, I should be most happy and grateful. If you 
would send them either to my mother's address, Rue 
Louis le Grand, 20; or to that of my secretary, Mr. 
Belloni, Rue Neuve St. George, No. 5, I should always 
get them in a very short time. 

I have the honour to be, sir, yours very gratefully, 

F. Liszt. 

Marseilles, April 2Sth, 1845. 

43. To Frederic Chopin.' 1 

Dear Chopin, 

M. Benacci, a member of the Maison Troupenas, 
and in my opinion the most intelligent editor, and the 
most liberal in business matters, in France, asks me 
for a letter of introduction to you. I give it all the 
more willingly, as I am convinced that under all cir- 
cumstances you will have every reason to be satisfied 
with his activity and with whatever he does. Mendels- 

* Autograph in the possession of M. Alfred Bovet at Valentigney. 
— The great Polish tone-poet (1809-49) was most intimate with 
Liszt in Paris. The latter, in his work " F. Chopin" (1851, second 
edition 1879, Breitkopf and Hartel ; German translation by La Mara, 
1880), raised an imperishable monument to him. 


sohn, whom he met in Switzerland two years ago, has 
made him his exclusive editor for France, and I, for my 
part, am just going to do the same. It would be a real 
satisfaction to me if you would entrust some of your 
manuscripts to him, and if these lines should help in 
making you do so I know he will be grateful to me. 
Yours ever, in true and lively friendship, 

F. Liszt. 

Lyons, May 2 1st, 1845. 

44. To George Sand.* 

Without wishing to add to your other inevitable 
troubles that of a correspondence for which you care 
little, allow me, dear George, to claim for myself your 
old indulgence for people who write to you without 
requiring an answer, and let me recall myself to you 
by these few lines through M. Benacci. Their 
ostensible object is to recommend the above-mentioned 
Benacci, so that you, in your turn, may recommend 
him more particularly to Chopin (and I may add in 
parenthesis that I should abstain from this negotiation 
were I not firmly persuaded that Chopin will never 
regret entering into business relations with Benacci, 
who, in his capacity of member of the firm of Troupenas, 
is one of the most important and most intelligent men 
of his kind) ; but the real fact of the matter is that I 

* Autograph in the possession of M. Alfred Bovct at Valentigney. 
— A friendship of long years subsisted between Liszt and France's 
greatest female writer, George Sand. At her home of Nohant he 
was a frequent guest, together with the Comtesse d'Agoult. Three 
letters which he wrote (in 1835 and 1837) for the Gazette Musicale 
— clever talks about Art, Nature, Religion, Freedom, etc. — bear 
George Sand's address. 


am writing to you above all — and why should I not 
confess it openly ? — for the pleasure of conversing with 
you for a few moments. Therefore don't expect any- 
thing interesting from me, and if my handwriting 
bothers you, throw my letter into the fire without 
going any further. 

Do you know with whom I have just had endless 
conversations about you, in. sight of Lisbon and 
Gibraltar ? With that kind, excellent, and original 
Blavoyer, the Ahasuerus of commerce, whom I had 
already met several times without recognising him, 
until at last I remembered our dinners at the "Ecu" 
(Crown) at Geneva, and the famous Pipe ! 

During the month's voyage from Lisbon to Barcelona 
we emptied I cannot tell you how many bottles of 
sherry in your honour and glory ; and one fine evening 
he confided to me in so simple and charming a manner 
his vexation at being unable to find several letters that 
you had written to him in Russia, I think, and which 
have been stolen from him, that I took a liking to him, 
and he did the same to me. The fact is that there 
could not possibly be two Blavoyers under the sun, 
and his own person is the only pattern of which he 
cannot furnish goods wholesale, for there is no sort of 
thing that he does not supply to all parts of the globe. 

A propos of Lisbon and supplies, have you a taste for 
camellias ? It would be a great pleasure to me to send 
you a small cargo of them from Oporto, but I did not 
venture to do it without knowing, in case you might 
perhaps have a decided antipathy to them. 

In spite of the disinterestedness with which I began 
this letter, I come round, almost without knowing how, 


to beg you to write to me. Don't do more than you 
like ; but in any case forgive me for growing old and 
arriving at the point when noble recollections grow in 
proportion as the narrowing meannesses of daily life 
find their true level. Yes, even if you thought me 
more of a fool than formerly, it would be impossible 
for me to hold your friendship cheap, or not to prize 
highly the fact that, somehow or other, it has not 
come to be at variance nor entirely at an end. 

As the exigencies of my profession will not allow me 
leisure to return so soon to Paris, I shall probably not 
have the opportunity of seeing you for two years. 
Towards the middle of July I go to Bonn for the 
inauguration of the Beethoven Monument. Were it 
not that a journey to the Rhine is so commonplace, 
I should beg you to let me do the honours of the left 
and of the right bank to you, as well as to Chopin 
(a little less badly than I was able to do the honours 
of Geneva !). My mother and my children are to join 
me at Cologne in five or six weeks, but I cannot hope 
for such good luck as that we might meet in those 
parts, although after your winters of work and fatigue 
a journey of this kind would be a refreshing distraction 
for you both. 

At the close of the autumn I shall resume my duties 
at Weymar ; later on I shall go to Vienna and 
Hungary, and proceed thence to Italy by way of 
Constantinople, Athens, and Malta. 

If, therefore, one of these fine days you should happen 
to be in the humour, send me a word in reply about 
the camellias ; if you will send your letter to my mother 
(20, Rue Louis le Grand) I shall get it immediately. 


In every way, count upon my profound friendship 
and most respectful devotion always and everywhere. 
Lyons, May 2 1st, 1845. *' Liszt. 

45. To Abbe de Lamennais.* 

Oh no, there is not, and there never could be, 
any indiscretion from you towards me. Believe me 
that I do not deceive myself as to the motive which 
determined you to write to me with such great kind- 
ness, and if it happened that I replied too sanguinely 
and at too great length I beg you to excuse me. 
Above all do not punish me by withdrawing from me 
the smallest particle of your sacred friendship. 

M. de Lamartine, with whom I have been spending 
two or three days at Montceau, told me that you had 
read to him Les Forgerons, so I played him the 
music. Permit me still to hope that some day you 
may be willing to complete the series, and that I, on 
my side, may not be unworthy of this task. 

Yours most heartily, 

Dijon, June is/, 1845. F ' LlSZT ' 

46. To Gaetano Belloni in Paris.! 

Dear and most excellent Belloni, 

Everything is moving on, and shall not stop 
either. Bonn is in a flutter since I arrived, 1 and I 

* Autograph in the possession of M. Alfred Bovet at Valentigney. 

f Autograph in the possession of M. Etienne Charavay in Paris. — 
Addressed to Liszt's valued secretary during his concert tours in 
Europe from 1841-47. 

1 It referred to the Festival in Bonn, of several days' duration, for 
the unveiling of the Beethoven Monument (by Hahnel), in which 


shall easily put an end to the paltry, underhand 
opposition which had been formed against me. 

By the time you arrive I shall have well and duly 
conquered my true position. 

Will you please add to the list of your commissions : 

The cross of Charles III. 

and the cross of Christ of Portugal, large size ? You 
know it is worn on the neck. 

Don't lose time and don't be too long in coming. 

Yours ever, 

July 23rd, 1845. F ' LISZT • 

Kindest regards to Madame Belloni. — I enclose a 
few lines for Benacci, which you will kindly give him. 

47. To Madame Rondonneau at Sedan.* 

In spite of rain, snow, hail, and frost, here I 
am at last, having reached the hotel of the Roman 
Emperor at Frankfort after forty-eight hours' travelling, 
and I take the first opportunity of telling you anew, 
though not for the last time, how much I feel the 
charming and affectionate reception which you have 
given me during my too short, and, unhappily for me, 
too unfortunate stay at Sedan. Will you, dear 
Madame, be so kind as to be my mouthpiece and 
special pleader to Madame Dumaitre, who has been 
so uncommonly kind and cordial to me ? Assuredly 

Liszt, the generous joint-founder of the monument, took part as 
pianist, composer, and conductor. 

* Autograph in the possession of M. Etiennc Charavay in Paris. 


I could not confide my cause (bad as it may be) to 
more delicate hands and to a more persuasive elo- 
quence, if eloquence only consists in reality of " the art 
of saying the right thing, the whole of the right thing, 
and nothing but the right thing," as La Rochefoucauld 
defined it ; a definition from which General Foy drew 
a grand burst of eloquence — " The Charter, the whole 
Charter (excepting, however, Article 14 and other 
peccadilloes !), and nothing but the Charter." 

" But don't let us talk politics any longer," as 
Lablache so happily remarked to Giulia Grisi, who 
took it into her head one fine day to criticise Don 
Juan ! 

Let us talk once more of Sedan, and let me again 
say to you how happy I should be to be able one day 
to show those whose acquaintance I have made through 
you in what grateful remembrance I keep it. 

Will you, Madame, give my best and most affectionate 
thanks to M. Rondonneau, and accept my very respect- 
ful and devoted homage ? 

F. Liszt. 

Frankfort, February nth, 1846. 

p.S. — Being pressed for time, and owing, perhaps, 
to a stupid feeling of delicacy, I came away without 
paying my doctor. 

If you think well, would you be so kind as to credit 
me with a napoleon and give it him from me : Madame 
Kreutzer will be my banker in Paris. Adieu till we 
meet again. 


48. To Monsieur Grillparzer.* 

Will you do me the favour, my dear sir, to come 
and dine, without ceremony, with several of your friends 
and admirers on Friday next at 3 o'clock (at the "Stadt 
Frankfurt ") ? I should be very much gratified at this 
kindness on your part. M. Bauernfeld leads me to 
hope that you will not refuse me. Permit me to think 
that he is not mistaken, and allow me to express once 
more my high esteem and admiration. 

F. Liszt. 

Tuesday Morning. [1846?] 

49. To Franz von Schober, Councillor of 
Legation in Weimar. 

[Prague, April nth, 1846. 1 ] 

Dear Friend, 

Your commissions have been attended to. The 
Wartburg has been sent through Bauernfeld to the 
Allgemciue, and will, I trust, not have to warten f 2 too 
long. I have sent a second copy of this article to Paris, 
where it is to appear in French garb. The report 

* Original, without date, in the possession of the Baroness Mayrhofer- 
Griinbuhel at Klagenfurt. It might belong to the year 1846, daring 
which Liszt arranged ten concerts in Vienna, from March 1st to May 
1 7th, and lived there during a great part of the summer. From the same 
year dates a poem of homage to the incomparable magician of the 
piano from the great poet. This slight and unimportant letter is 
the only one of Liszt's found among Grillparzer's effects. 

1 According to the postal stamp. 

f Wait; a play on the words 1 Vart burg and warten. 

- A treatise on the proposed completion of the Wartburg. 


figures already in the Vienna Theater-Zeitung, a paper 
with a wide circulation (and none the better on that 
account !), where it makes quite a good appearance. 

You would get the best connection with Frankfort 
through O. L. B. Wolff (and through his medium, 
w T hich is at any rate an honest and proper one, with 
the German Frankfurtes Journal, or the Oberpostamts- 
Zeitung, and even with the Didaskalid). 

Talk this over with Wolff! 

The same with the " illustrated " Leipzig Journal, in 
which the article on the Wartburg should appear as 
soon as possible with an illustration. Wolff can also 
arrange that, and in case it were necessary, why, in 
Heaven's name, the sketch can be paid for. The State 
of Weimar will not be ruined by it. Pereat Philistia 
and its powerless foolery ! ! ! 

You have only to write a line to Brockhaus, and the 
columns of the Deutsche Allgemeine stand open to 
you. Your personal and official position in Weimar 
entitle you to this. Later on, in passing through Leipzig, 
you can very easily consolidate this connection. 

My stay in Hungary (Pest) will probably be limited 
to the first half of May. I shall in any case see Schwab. 
Sardanapalus x (Italian) will most probably be produced 
next season (May) in Vienna. 

My stay in Weimar this summer . . . ? ? 2 

1 An opera planned by Liszt. 

2 The continuation of the letter is missing. 


50. To Franz vox Schober, Councillor of 
Legation in Weimar. 

Castle Gratz (at Prince Lichnowsky's), May 2Sth, 1846. 
You are curious people at Weimar. You stride 
on towards a possibility, and as soon as the thing is 
well in train you take fright at it ! However that may 
be, here are the instructions I have received from Paris, 
and if you still wish an article on the Wartburg to 
appear in a French paper you must conform to them, 
and therefore send to my mother's address (20, Rue 
Louis le Grand) the indispensable little notice. 

The note from my Paris correspondent is as 
follows : — 

" The article in its present form would not be suit- 
able for publication in any French paper ; it will be 
necessary to write another, explaining in a few words 
in what and how the Wartburg is historically interesting 
to Europe, and why Europe ought to interest herself 
in its restoration ; then make a short architectural de- 
scription of the castle ; but above all do not forget that 
the article is to be read by Frenchmen, careless of what 
is happening in Germany, and utterly ignorant of 
German history and legend." 

I continue : — 

1st. — A short account, historical and legendary, of 
the Wartburg. 

2nd. — How it has been allowed to fall into ruins. 

3rd.— How it is to be restored. 

Finally, plenty of facts and proper names, as M. de 
Talleyrand so well said. 


Agreed then ! As soon as you have got this sketched 
out on the lines above mentioned (it will serve also for 
the illustrated), send it to my mother by Weyland. 
My mother will already know through me to whom she 
has to give it. 

There is nothing to be done with Schwab. His 
" Delirium " (as I call it) x stood in my room for a week, 
and we stood there not knowing what to make of it. 
But never and nohow could we bring that good Schwab 
to try to make us see an} 7 bast's or proof of his calcula- 
tion. My opinion is that, in order to take away the 
incognito from his discovery, he ought to send a sample 
to the Vienna Academy, and two others to the Berlin 
and Paris Academies, for trial and discussion. If I can 
help him in this matter with letters to Humboldt and 
Arago I will do it right gladly ; but it is as plain as 
day that incompetent private sympathies are of no 
import in such a sensitive discovery, and therefore can 
do nothing. Meanwhile they have made a subscription 
of eight hundred guldens in money, and have bought 
the machine for the Pest Museum. 

The relic with authentic verification is in the locked- 
up box at Wolff's. Beg the Herr Librarian (it would 
really make me ill if he is not appointed) to be so good 
as to find this relic — he will have no difficulty in recog- 
nising it — and to send it me to Haslinger's address, 
Graben, Vienna. 

About my law-suit more anon in Weimar. Mean- 
while thank my excellent advocate (does he take snuff?) 
warmly, and beg him to continue to keep me in his good 

1 It was a Tellurium. 


If I know that it will be agreeable to his Grace ! to 
see me in Weimar this summer, I shall come, in spite of 
the upset which this journey will occasion to me. You 
know how I am, heartily and personally, in his favour 
without any interest. I should like also to tell him many 
things, and for this a stay there in the summer with 
walks (which as a rule I can't abide, as you know) 
would be pleasanter and more convenient. 

My stay in Pest might bear serious fruit, were it not 
that the Byronic element, which you combat in me, 
becomes ever more and more predominant. 

Farewell and work hard ! I cannot arrange any meet- 
ing with you. / am not my own master. In August I 
mean to make a peregrination to Oedenburg, and thence 
to Leo and Augusz (the latter in Szegzard). If I come 
to Weimar it will be in July. 

Address always to Haslinger's. 

Adieu, my dear excellent Schober. Remain as good 
to me as you are dear ! 

Yours ever affectionately, 

F. Liszt. 

Remember me most kindly to Ziegesar and Wolff. 

51. To Alexander Seroff.- 

I am most grateful, my dear sir, for the kind 
remembrance you keep of me since Petersburg, 3 and I 
beg you to excuse me a thousand times for not having 
replied sooner to your most charming and interesting 

1 The former Hereditary Grand Duke and present Grand Duke of 

2 Russian musical critic and composer (1820-71). 

3 Seroff was at that time in the Crimea. 


letter. As the musical opinions on which you are kind 
enough to enlarge have for long years past been com- 
pletely my own, it is needless for me to discuss them 
to-day with you. There could, at most, be only one 
point in which we must differ perceptibly, but as that 
one point is my own simple individuality you will quite 
understand that I feel much embarrassed with my 
subject, and that I get out of it in the most ordinary 
manner, by thanking you very sincerely for the too 
flattering opinion that you have formed about me. 

The Overture to " Coriolanus " is one of those master- 
pieces sui generis, on a solid foundation, without antece- 
dent or sequel in analogous works. Does it remind 
you of Shakespeare's exposition of the tragedy of the 
same name (Act i., Scene i) ? It is the only pendant 
to it that I know in the productions of human genius. 
Read it again, and compare it as you are thinking of it. 
You are worthy of those noble emotions of Art, by the 
fervent zeal with which you worship its creed. Your 
piano score of the Overture to Coriolanus does all 
honour to your artist conscience, and shows a rare and 
patient intelligence which is indispensable to bringing 
this task to a satisfactory end. If I should publish my 
version of the same Overture (it must be among my 
papers in Germany) I shall beg your permission to send 
you, through Prince Dolgorouki x (I can't tell you half 
the good I think of him), an annotated copy, which I will 
beg you to add to the insignificant autograph which you 
really estimate too highly in attaching so affectionate a 
price to it ! 

1 Prince Argontinski-Dolgorouki, a devoted lover of music. A 
friend of Liszt's : had rich property in the Crimea. 

VOL. I. 6 


Accept once more, my dear sir, my most affectionate 

F. Liszt. 

Elisabethgrad, September iqtJi, 1847. 

52. To Carl Haslinger in Vienna.* 

Woronino, December 19//7, 1847. 

My dear Karolus, 

I am delighted to hear from you of the arrival of 
my box from Galatz. Will you be so good as to send 
it off speedily and safely to Weymar, so that I may find 
it when I arrive there (at the end of this month) ? and, 
as I am away, address it to M. le Baron de Ziegesar, 
Chamberlain to H.R.H. the Hereditary Grand Duchess. 
Beg Lowy to take the same opportunity of sending me 
the other boxes belonging to me, which remained 
behind, whether with him or elsewhere, to my Weymar 
address, unless he prefers to bring them with him 
when he comes to see me. 

In my last letter to my uncle I gave him a commis- 
sion for you — namely, to beg you to send me the 
Melodies and Rhapsodies Hongroises complete ; also the 
Schwanengesang and the Winterreise (transcriptions), 
large size edition, made into a book. As you have 
had some proofs made of my new Rhapsodies, make 
up a parcel of it all, which will be an agreeable surprise 
to me on my arrival. 

I have worked pretty well these last two months, 

* The original (without address) in the possession of M. Alfred 
Bovet at Valentigney. — There is no doubt that it was written to 
the above music publisher (son of the well-known Tobias H.), who 
was a pupil of Czerny, and at the same time a pianist and composer 
(1816-68), and friend of Liszt. 


between two cigars in the morning, at several things 
which do not displease me ; but I want to go back to 
Germany for some weeks in order to put myself in 
tune with the general tone, and to recreate myself by 
the sight and hearing of the wonderful things produced 
there by . . . Upon my word I don't know by whom 
in particular, if not the whole world in general. 

If you want me to ... 1 anything for you, tell me, 
and give me your ideas as to cut and taste. 

Send me also the Schumann Opus (Kreisleriana, etc.) 
published by yourself and Mechetti, together with 
Bach's six Pedal Fugues, in which I wish to steep 
myself more fully. If the three Sonnets (both voice 
and pianoforte editions) are already re-corrected, kindly 
send me also an author's copy. 

Adieu, dear Karolus. I commend my box to you, 
and commend myself to you also 

As your sincere friend, 

F. Liszt. 

I need not say that of course you shall be repaid 
immediately for sending the box — only hurry on the 

Best regards to your wife. 

Lowy will tell you what I wish in regard to the 
credit for my uncle Eduard. 

1 Impossible to decipher this word in Liszt's original letter. 




von Dornis, Jena.* 

The confidence which you place in me, most 
esteemed Herr Baron, is naturally very flattering ; but 
in order to meet it according to your wishes, I ought 
to have quite other means at my disposal than those I 

It would of course be very gratifying to me to 
possess one of your valued works ; yet I cannot help 
taking this opportunity of remarking that, in view of 
the far too many busts, medallions, statuettes, caricatures, 
medals, and portraits of all kinds existing of my humble 
self, I long ago resolved not to give occasion to any 
further multiplication of them. 

Accept, esteemed Herr Baron, my expressions of 
great regret that I cannot meet your kind proposal as 
you wish, and with the assurance of my highest esteem, 
Believe me yours very truly, 

Weyxar, March 6th, 1848. F. LlSZT. 

54. To Franz von Schober, Councillor of 
Legation at Weimar. 

Castle Gratz, April 2.2nd, 1848. 

My dear and honoured Friend, 

Your dear letter has brought me still nearer 
to you in the crisis of the estro poetico, which the 

* Autograph in the possession of Herr C. Geibel, bookseller in 
Leipzig. — The addressee was a sculptor. 



" Hungaria" ] brought forth in me ; and, thanks to this 
good influence, I hope you will not be dissatisfied with 
the composition. 

Since my Beethoven Cantata I have written nothing 
so striking and so spontaneous. One of these next 
days the instrumentation will be completed, and when 
we have an opportunity we can have it performed in 
Weimar in your honour and that of " Weimar's dead." 2 

Regardless of the blocking of the Russian frontier 
the P[rincess] Wpttgenstein] has safely passed through 
Radziwillow and Brody with a special official outrider, 
and established herself at Castle Gratz four days ago 
with her very charming and interesting daughter. As 
it is still somewhat early for the German bath season, 
I should like to persuade her to spend a couple of 
weeks in Weimar before her Carlsbad " cure " (which, 
alas ! is very necessary for her). If my wishes should 
be successful I shall arrive at Weimar between the 
i oth and 15 th of May, in order to prepare a suitable 
house or suite of apartments for the Princess. 

I should be so pleased if you had an opportunity of 
getting to know the P. W. She is without doubt an un- 
commonly and thoroughly brilliant example of soul and 
mind and understanding (with immense esprit as well). 

It won't take you long to understand that henceforth 
I can dream of very little personal ambition and future 
wrapped up in myself. In political relations serfdom 
may have an end, but the dominion of one soul 
over another in the region of spirit, is not that 
indestructible ? . . . 

1 One of Liszt's symphonic poems. 

- Refers to a poem entitled "Weimar's Todten.*' 


You, my dear, honoured friend, will assuredly not 
answer this question with a negative. 

In three weeks I hope we shall see each other again. 
Be so good as to present my respects to our young 
Duke. What you tell me of him pleases me. As 
soon as possible you shall hear more, and more fully, 
from me, but do not write to me till then, as my 
address meanwhile will be very uncertain. But con- 
tinue to love me, as I love and honour you. 

F. Liszt. 

55. To Bernhard Cossmann in Baden-Baden. 1 

Circumstances ! Conditions ! My dear sir, these 
are now the very ceremonious expressions and excuses 
of theatrical and directorial beings. Unfortunately that 
is the case here too, although our dear Weymar con- 
tinuing free, not only from the real cholera, but also 
from the slighter, but somewhat disagreeable, periodical 
political cholerinci, may peacefully dream by its elm, 
yet . . . yet ... I am sorry to say I am obliged not 
to answer your kind letter affirmatively. Should 
circumstances and conditions, however, turn out as I 
w T ish, then the Weymar band would consider it an 
honour and a pleasure to possess you, my dear sir, as 
soon as possible as one of its members. 

Meanwhile accept the assurance of high regard of 
yours very sincerely, 

F. Liszt. 

Weymar, September iSth, 1848. 

1 The addressee became in 1850 solo-violoncellist and chamber 
virtuoso in Weimar, and, later, in Moscow, and has been, since 1878, 
a Professor at the Hoch Conservatorium at Frankfort-on-Maine. 


56. To Carl Reinecke. 1 

Dear Sir, 

Your kind letter has given me much pleasure, 
and the prospect which you hold out to me, of seeing 
you soon again at Weymar, is very agreeable to me. 
But come soon, and if possible for a few days ; I on 
my side shall certainly do all I can to prolong your 
stay here and make it seem short to you. The 
promised Concerto interests me keenly ; it will be sure 
to give us ample material for musical talks, and perhaps 
after many a talk we shall set to work again and both 
write a new Concerto. 

Would not the best results of criticism altogether be 
to incite to new creation ? 

However that may be, do not put off too long taking 
up your quarters at the Erbprinz, and rest assured that 
your visit is much desired by me. 

Yours very sincerely, 

F. Liszt. 

Weymar, March 25//?, 1849. 

My very best thanks for the splendid stuff for the 
coat, which will give me quite an important, well-to-do, 
stately appearance ! 

57. To Count Sandor Teleky (?)/•• 

I have to give you threefold thanks, dear Count, 
and I feel that I can undisguisedly do so ! Your verses, 

1 The present conductor of the Gevvandhaus Concerts in Leipzig 
(born 1824), and celebrated as composer, pianist, and conductor. 

* The original (without address) in the possession of Count Albert 
Amadei in Vienna. — The recipient of this letter was presumably 


in addition to your prose and music, are three times 
welcome to me at Weymar, and the Fantaisie dedicated 
to the royal hours of leisure of H.R.H. has also 
charmed my leisure hours, as rare as they are 

If it would not be a trouble to you to come to 
Weymar, it would be most kind of you to give us the 
pleasure of your company for a day or two during our 
theatrical season, which concludes on the 15 th of June. 
We could then chat and make music at our ease (with 
or without damages, ad libitum), and if the fantasy took 
us, why should we not go to some new Fantaisie of 
leisure on the Traum-Lied (dream song) of Tony, 1 for 
instance, at the hour when our peaceable inhabitants 
are sleeping, dreaming, or thinking of nothing ? We 
two should at least want to make a pair. 

May I beg you, dear Count, to recall me most 
humbly to the indulgent remembrance of your charming 
and witty neighbour * of the Erbprinz, and accept once 
more my most cordial expressions for yourself? 

F. Liszt, 

Weymar, May 5th, 1849. 

Count Teleky, a friend of Liszt's, who often accompanied the latter 
on his triumphal European journeys, and who was himself an active 
musician and literary man. He died in June, 1892. 

1 No doubt meaning Baron Augusz, Liszt's intimate friend at 
Szegzard, who died in 1878. 

* Nachbarin, feminine. 


58. To Belloni(?).* 

Weimar, May 14///, 1849. 
Dear B., 

Richard Wagner, a Dresden conductor, has 
been here since yesterday. That is a man of wonder- 
ful genius, such a brain-splitting genius indeed as 
beseems this country, — a new and brilliant appearance 
in Art. Late events in Dresden have forced him to 
a decision in the carrying out of which I am firmly 
resolved to help him with all my might. When I have 
had a long talk with him, you shall hear what we have 
devised and what must also be thoroughly realised. In 
the first place we want to create a success for a grand, 
heroic, enchanting musical work, the score of which was 
completed a year ago. 1 Perhaps this could be done in 
London ? Chorley, 2 for instance, might be very helpful 
to him in this undertaking. If Wagner next winter 
could go to Paris backed up by this success, the doors 
of the Opera would stand open to him, no matter with 
what he might knock. It is happily not necessary for 
me to go into long further discussions with you ; you 
understand, and must learn whether there is at this 
moment in London an English theatre (for the Italian 

* The letter written apparently to Belloni (who has already been 
mentioned) was, like the present one, published b} T Wilhelm Tappert, 
in a German translation and in an incomplete form, in the Nrur 
Mitsik-Zcituug (Cologne, Tonger) of October 1st, 1SS1. The editor 
unfortunately could not obtain possession of it complete and in the 
original. According to Tappert, a Belgian musical paper pronounced 
it spurious, for reasons unknown to the former. 

1 Lohengrin. 

- Chorley (1808-72) had considerable influence in London as author, 
critic, and writer in the Atlicnmim. 


Opera would not help our friend !), and whether there is 
any prospect that a grand and beautiful work from a 
master hand could have any success there. 1 Let me 
have an answer to this as quickly as possible. Later 
on — that is, about the end of the month — Wagner will 
pass through Paris. You will see him, and he will talk 
with you direct about the tendency and expansion of 
the whole plan, and will be heartily grateful for every 
kindness. Write soon and help me as ever. It is a 
question of a noble end, toward the fulfilment of which 
everything must tend. 

59. To Carl Reinecke. 

Weymar, May $oth, 1849. 
Thank you much, dear M. Reinecke, for your 
welcome lines, and I am glad to hope that you are 
happily arrived at Bremen, which ought to be proud 
to possess you. The musical taste of that town has 
always been held up to me, and I feel assured that the 
inhabitants will have the good taste to appreciate you 
at your full value, and that you will create a good and 
fine position for yourself there without many obstacles. 
Wagner, who will probably be obliged to lose his 
post at Dresden in consequence of recent events, has 
been spending some days with me here. Unluckily 
the news of the warrant against him arrived the day of 

1 It was not in London, but in Weimar, as is well known, that the 
first performance of Lohengrin took place (on August 28th, 1850). 
It was not until twenty-five years later that London made acquaint- 
ance with Wagner's work on the stage, in the Italian Opera and with 
Nicolini in the title-role ; and the composer himself heard it for the 
first time in Vienna on May 15th, 1S61. 


the performance of Tannhduser, which prevented him 
from being present. By this time he must have 
arrived in Paris, where he will assuredly find a more 
favourable field for his dramatic genius. With the aid 
of success he will end, as I have often said, by being 
acknowledged as a great German composer in Germany, 
on condition that his works are first heard in Paris or 
London, following the example of Meyerbeer, to say 
nothing of Gluck, Weber, and Handel ! 

Wagner expressed his regret to me that he had not 
been able to send a better reply to the few lines of 
introduction which I had given you for him. If ever 
you should be in the same place with him do not fail 
to go and see him for me, and you may be sure of 
being well received. 

I am very much obliged to you for having spoken of 
me to Schumann in such a manner as he at least ought 
to think of me. It interested me much to make 
acquaintance with his composition of the epilogue to 
Faust. If he publishes it I shall try to have it per- 
formed here, either at the Court or at the theatre. In 
passing lately through Frankfort I had a glance at the 
score of Genoveva, a performance of which had been 
announced to me at Leipzig for the middle of May at 
latest. I am very much afraid that Schumann will 
have a struggle with the difficulties and delays which 
usually occur in trying to get any lofty work performed. 
One would say that a bad fairy, in order sometimes to 
counterbalance the works of genius, gives a magic 
success to the most vulgar works and presides over the 
propagation of them, favouring those whom inspiration 
has disdained, in order to push its elect into the shade. 


That is no reason for discouragement, for what matters 
the sooner or the later ? 

A thousand thanks for your exact and obliging 
packet of cigars. If you should have the opportunity 
of sending me some samples of a kind neither too thin 
nor too light, at about twenty to twenty-five thalers the 
thousand, I shall willingly give an order for some, which 
might be followed by a larger order. 

Schuberth of Hamburg has just sent me your tran- 
scriptions of the Schumann songs, which have given 
me real pleasure. If you publish other things kindly 
let me know, for you know the sincere interest I feel 
both in yourself and in your works, — an interest I hope 
to have the opportunity of showing you more and more. 

Meanwhile believe me yours affectionately, 

F. Liszt. 

P.S. — I have not forgotten the little commission you 
gave me relative to the Fantasie-Stucke, and in a few 
weeks I will let you have a copy of the new edition. 

60. To Robert Schumann.* 

Dear, esteemed Friend, 

Before everything allow me to repeat to you what, 
next after myself, you ought properly to have known 
best a long time ago — namely, that no one honours and 
admires you more truly than my humble self. 

When opportunity occurs we can certainly have a 
friendly discussion on the importance of a work, a man, 
even a town indeed. For the present I am specially 

* Original in the Royal Library in Berlin. 


rejoicing in the prospect of an early performance of 
your opera, and beg you most urgently to let me know 
about it a few days beforehand, as I shall most cer- 
tainly come to Leipzig on that occasion, and then we 
can also arrange for it to be studied in Weymar as 
soon as possible afterwards. Perhaps you will also 
find time there to make me acquainted with your 
Faust. For this composition I am anxiously waiting, 
and your resolution to give this work a greater length 
and breadth appears to me most judicious. A great 
subject demands generally a grand treatment. Although 
the Vision of Ezekiel attains in its small dimensions 
the culminating point of Raphael's greatness, yet he 
painted the School of Athens and the entire frescoes in 
the Vatican. 

Manfred is glorious, passionately attractive ! Don't 
let yourself be stopped in it ; it will refresh you for 
your Faust — and German art will point with pride to 
these twin productions. 

Schuberth has sent me your Album fur die Jugend* 
which, to say the least, pleases me much. We have 
played your splendid trio here several times, and in 
a pretty satisfactory manner. 

Wagner stayed some days here and at Eisenach. 
I am expecting tidings from him daily from Paris, where 
he will assuredly enlarge his reputation and career in 
a brilliant manner. 

Would not your dear wife (to whom I beg to be 
kindly remembered) like for once to make a romantic 
country excursion into the Thuringer Wa/d?~\ The 
neighbourhood is charming, and it would give me 

* Album for the Young. f The Thuringian Forest. 


great pleasure to see her again at Weymar. A very 

good grand piano, and two or three intelligent people 

who cling to you with true sympathy and esteem, await 

you here. 

But in any case there will appear in Leipzig as a 

claqueur * 

Your unalterably faithful friend, 

F. Liszt. 
Weymar, June $tJi, 1849. 

61. To Robert Schumann.! 

Best thanks, dear friend, for your kind infor- 
mation about the performance of your Faust on the 
28th of August. 

To draw " das Ewig-Weibliche " i rightly upwards 
by rehearsing the chorus and orchestra would have 
afforded me great pleasure — and would probably 
have succeeded. § But unfortunately obstacles which 
cannot be put aside have intervened, and it will 
be utterly impossible for me to be present at the 
Goethe Festival, as I have to betake myself in a few 
days'' time to an almost unknown but very efficacious 
bath resort, and my doctor's orders are most strict that 
I must not make any break in my "cure" during six 

Notwithstanding this very deplorable contretemps 
for me, I immediately informed Herr Councillor A. 

* Clapper (to applaud). 
7 Original in the Royal Library in Berlin. 

% " Das Ewig.-Weibliche zicht uns hinan " (" The Eternal-Womanly 
draws us upwards "). — Goethe's Faust. 

§ "Gelangen "" and "gelingen " — untranslatable little pun. 

VOL. I. 7 


Scholl, as head of the Goethe Committee, of your friendly 
proposal. Herewith his answer. 

Allow me meanwhile to refresh your memory with 
an old French proverb, " Ce qui est differe n'est pas 
perdu," * and give me the hope that soon after my 
return to Weymar we may occupy ourselves seriously 
with the performance of your Faust. . . . 

Hearty greetings to your dear wife, and believe me 
yours ever most sincerely, 

F. Liszt. 

Weymar July 27th, 1849. 

62. To Robert Schumann. f 

Dear Friend, 

A summons which cannot be put off obliges me 
to be present at the Goethe Festival here on the 28th of 
August, and to undertake the direction of the musical 

My first step is naturally to beg you to be so good 
as to send us soon the score of your Faust. If you 
should be able to spare any of the voice or orchestral 
parts it would be a saving of time to us ; but if not 
we shall willingly submit to getting the parts copied 
out as quickly as possible. 

Kindly excuse me, dear friend, for the manner in 
which this letter contradicts my last. I am very 
seldom guilty in such a way, but in this case it does 
not lie in me, but in the particulars of the matter 

For the rest I can assure you that your Faust shall be 

* What is put off is not given up. 

f Autograph in the Royal Library in Berlin. 


studied with the utmost sympathy and accuracy by the 
orchestra and chorus. — Herr Montag, the conductor of 
the Musik-Verein,* is taking up the chorus rehearsals 
with the greatest readiness, and the rest will be my 
affair ! — Only, dear friend, don't delay sending the 
score and, if possible, the parts. 

Sincerely yours, 

F. Liszt. 

Weymar, August 1st, 1849. 

If your opera is given not later than the 1st of 
September I shall certainly come to Leipzig. 

63. To Carl Reinecke. 

Heligoland, September "Jth, 1849. 

I am very sorry, my dear M. Reinecke, not to 
have met you at Hamburg. It would have been such 
a real pleasure to me to make acquaintance again with 
your Nonet, and it seems to me, judging from its 
antecedents in the form of a Concerto, that by this 
decisive transformation it ought to be a most honourably 
successful work. 

The Myrthen Lieder have never been sent to me. If 
you happen to have a copy I should be very much 
obliged if you would send it me to Schuberth's address. 

With regard to the article which has appeared in 
La Musique I have all sorts of excuses to make 
to you. The editors of the paper thought fit, I do not 
know why, to give it a title which I completely disavow, 
and which would certainly have never entered into my 
mind. Moreover the printer has not been sparing of 

* Musical Union. 


changing several words and omitting others. Such are 
the inevitable disadvantages of articles sent by post, 
and of which the proof correctors cannot read the 

Anyhow, such as it is, I am glad to think that it 
cannot have done you any harm in the mind of the 
French public, which has customs and requirements 
that one must know well when one wishes above 
all things to serve one's friends by being just to 

Two numbers of your " Kleine Fantasie-Stucke " have 
been distributed, up to about a thousand copies, with 
the paper La Musique, under the title of u Bluettes," 
— a rather ill-chosen title to my idea, — but, notwith- 
standing this title and the words " adopted by F. 
Liszt/' which the editors have further taken the 
responsibility of putting, I am persuaded that this 
publication is a good opening (in material) into the 
musical world of France, and, looking at this result 
only, I am charmed to have been able to contribute 
to it. 

I shall return to Hamburg by the last boat from 
Heligoland on the 27th of September, in order to go 
to the baths of Eilsen, where I expect to spend all the 
month of October. In November I shall be back in 
Weymar for the rest of the winter. 

If you would have the kindness to send to 
Schuberth's address a case of 250 cigars of a pretty 
good size from the Bremen Manufactory, I should be 
very much obliged to you, and would take care to let 
you have the money (which in any case will not be a 
very great sum) through Schuberth. 


The samples you sent me to Weymar did reach me, 
but at a moment when I was extremely occupied, so 
that I forgot them. Pray let me hear from you from 
time to time, my dear M. Reinecke, and regard me 
as a friend who is sincerely attached to you. 

F. Liszt. 

64. To Breitkopf and Hartel. 

My dear Sir, 

The arrival of your piano is one of the most 
pleasant events in my peacefully studious life at 
Weymar, and I hasten to send you my best thanks. 
Although, to tell the truth, I don't intend to do much 
finger-work in the course of this year, yet it is no less 
indispensable for me to have from time to time a perfect 
instrument to play on. It is an old custom that I 
should regret to change ; and, as you kindly inquire 
after the ulterior destination of this piano, allow me to 
tell you quite frankly that I should like to keep it as 
long as you will leave it me for my private, personal, 
and exclusive use at Weymar. In being guilty of the 
so-called indiscretion I committed in claiming of your 
courtesy the continued loan of one of your instruments 
I thought that, under the friendly and neighbourly 
relations which are established between us (for a long 
time to come, I hope), it would not be unwelcome to 
your house that one of its productions should play the 
hospitable to me, whilst receiving my hospitality at the 
same time. However retired and sheltered I live from 
stir and movement at Weymar, yet from time to time 
it does happen that I receive illustrious visitors, or 
curious and idle ones who come and trouble one for 


this or that ; henceforth I shall be delighted to be able 
to do the honours of your piano both to the one and to 
the other, and that will be, besides, the best proof of 
the strength of the recommendation that I have had 
the pleasure of making, for a long time past, of your 
manufactory. If however, contrary to expectation, it 
should happen that you were in pressing need of 
an instrument, very little played upon, the one at 
Weymar would be at your disposal at any moment. 

With regard to the Beethoven Lieder-Cyclns I have 
just received a letter from Mr. Haslinger which I do 
not communicate in full because of the personal details 
it contains, but this is the passage, as laconic as it is 
satisfactory, with regard to this publication : — 

" I give you with pleasure my fullest consent to the 
edition of the Beethoven Liederkreis by Breitkopf and 

So by to-morrow's post I shall have the honour of 
returning you the proofs of the Lteder-Cyclus, which 
forms a continuation to the Beethoven Lieder which 
you have already edited, and which you will publish 
when you think well. . — . 

With the proofs of my third piece on the Prophete 
I will also send you all the pieces on it (piano and 
voice) which you have been so good as to lend me, as 
well as the piano score, which I don't require any 
more ; for, unless I should have a success which I 
dare not hope for (for these three pieces), and an 
express order from you for another series of three 
pieces, which I could easily extract from that vast 
score, I shall make this the end of my work on the 


I come at last to a question, not at all serious, but 
somewhat embarrassing for me, — that of fixing the 
price of the manuscripts that you are so good as to 
print. I confess that this is my " quart d'heure de 
Rabelais ! " * In order not to prolong it for you, allow 
me to tell you without further ceremony that the whole 
of the six works together, which are as follows : — 

Lieder of Beethoven, 

Lieder-Cyclus of Beethoven, 

Consolations (six numbers), 

Illustrations of the Prophete (three numbers), 
published by your house, are worth, according to my 
estimation, 80- 1 OO louis d'or. 

If this price does not seem disproportionate to you, 
as I am pleased to think it will not, and if it suits you 
to publish other pieces of my composition, I shall have 
the pleasure of sending you in the course of the 
year :— 

1. A Morceau de Concert (for piano without orchestra), 
composed for the competition of the Paris Conservatoire, 

2. The complete series of the Beethoven Symphonies, 
of which you have as yet only published the Pastorale 
and the C minor. (In the supposition that this publi- 
cation will suit your house, I will beg you to make the 
necessary arrangements from now onwards with Mr. 
Haslinger ; perhaps it will even be expedient that the 
Symphony in A (7th), which Haslinger published 
several years ago from the arrangement that I had 

* The "quart d'heure de Rabelais " refers to an incident in his 
life, and means, in round terms, the moment of paying — *.*., any- 
disagreeable moment. 


made, should reappear in its proper place in the 
complete series of the symphonies.) 

3. Bach's six fugues (for organ with pedals), arranged 
for piano alone. 

In the middle of February I shall send you the 
complete manuscript of my little volume on Chopin, 
and a little later in the same month we shall set 
ourselves to work here on the study of Schubert's 
opera, the performance of which will take place in the 
first days of April. If, as I do not doubt, the per- 
formance of the Prophete draws you to Dresden, I 
shall certainly have the pleasure of seeing you there, 
for I have just begged Mr. de Lt'ittichau to be so 
good as to reserve me a place for that evening, and 
I shall not fail to be there. Meanwhile, my dear 
M. Hartel, believe me, 

Yours sincerely and affectionately, 

Weymar, January 14///. 1S50. -T • LlSZT. 

On the occasion of Schubert's opera I shall probably 
set to work on the arrangement of the symphony, of 
which, meanwhile, I hold the score. — Compliments and 
best regards to Madame Hartel, which I know you 
will be kind enough to convey to her. 

65. To Breitkopf and Hartel. 

February 24th, 1850. 

My dear Sir, 

. — . With regard to Schubert's opera, * a recent 
experience has entirely confirmed me in the opinion 

1 Alfonso and Estrclla. It was given for the first time on 
June 24th, 1854, the birthday of the Grand Duke (but not without 
some necessary cuts). 


I had already formed at the time of the first rehearsals 
with piano which we had last spring — namely, that 
Schubert's delicate and interesting score is, as it were, 
crushed by the heaviness of the libretto ! Nevertheless, 
I do not despair of giving this work with success ; but 
this success appears possible only on one condition — 
namely, to adapt another libretto to Schubert's music. 
And since, by a special fate, of which I have no reason 
to complain, a part of Schubert's heritage has become 
my domain, I shall willingly busy myself, as time and 
place offer, with the preparatory work and the rnise-en- 
scene of this opera, for which it would be advantageous, 
in my opinion, if it could be first produced in Paris. 
Belloni informs me that it will be pretty easy for you 
to ensure me the entire rights of this work for France. 
If such be the case I would take suitable measures for 
the success of this work, on occasion of which I 
should naturally have to make a considerable outlay 
of time and money, so that I should not be disposed 
to run any risk without the guarantee of proportionate 
receipts from the sale of the work in France, and 
author's rights which I shall have to give up to the 
new poet. 

This matter, however, is not at all pressing, for I 
shall only be able to set to work in the matter in the 
course of next year (185 1) ; but I shall be very much 
obliged to you not to lose sight of it, and to put me 
in possession, when you are able, of the cession of the 
French and English rights, in consideration of which 
I will set to work and try to get the best possible 
chances of success. 

Many thanks to you for so kindly sending the score 


of Schubert's Symphony. That of the Prophctc not 
being wanted by me any longer, I enclose it in the 
parcel of proofs and manuscripts which I beg you to 
undertake to send off to Mr. Belloni's address in Paris. 

On Easter Monday we shall give the first performance 
of Comte Ory} Would you not feel tempted to come 
and hear it ? It is a charming work, brimming over 
and sparkling with melody like champagne, so that 
at the last rehearsal I christened it the " Champagner- 
Oper " ; * and in order to justify this title our amiable 
Intendant proposes to regale the whole theatre with a 
few dozens of champagne in the second act, in order 
to spirit up the chorus. 

" Qu'il avait de bon vin le Seigneur chatelain ! " 
Cordial remembrances from yours affectionately, 

F. Liszt. 

I should be glad for the publication of No. 3 of the 
pieces on the Prophete, and the Consolations, not to be 
put off long. 

66. To Professor J. C. Lobe in Leipzig.! 

My esteemed Friend, 

It is with much pleasure I send you the good 
news that H.R.H. the Grand Duchess has graciously 
accepted the dedication of your " System of Com- 
position." 2 

1 By Rossini. 

* "Champagne Opera." 

f Autograph in the possession of M. Alfred Bovct at Valentigney. 
— The addressee (1797 — 1S81), a writer on music (former^ Court 
Musician at Weimar), lived from 1846 in Leipzig. 

'-' Published in 1 850. 


Our gracious protector * started yesterday for The 
Hague, and will not be back till towards the middle of 

I hope you will be sure not to fail us at the Herder 
Festival in Weymar (August 25 th), as well as at the 
Lohengrin evening (28th) ; we have been already waiting 
for you so long ! 

Between the performances of the Messiah and 
Lohengrin (to say nothing of my Prometheus choruses) 
will also be the best opportunity for you to present 
your work in person to the Grand Duchess. 

Remember me kindly to your dear family, and 
remain my friend as I am yours 

Most truly, 

F. Liszt. 

Weymar, July 10th, 1850. 

67. To Friedrich Wieck in Dresden.! 

Esteemed Sir, 

It will be a real pleasure to me to welcome you 
here, and your daughter, 1 whom I have already heard 
so highly commended. Weymar, as you know it of old, 
offers no brilliant resources for concerts ; but you may 
rest assured beforehand that I, on my side, shall do 
everything that is possible in this connection to make 
things easy for you. To me it seems especially de- 
sirable that you should wait until the return of H.R.H. 

* Feminine. 

f Published in the Neue Musik-Zeitung in 1 888. — The addressee 
was the well-known pianoforte master, the father of Clara Schumann 

1 Marie Wieck, Hohenzollern Court Pianist in Dresden. 


the Grand Duchess, which will be within a fortnight ; 
should you, however, be tied by time and come here 
before that date, I bid you heartily welcome, dear sir, 
and place myself at your disposal. 

Yours truly, 

F. Liszt. 

Weyjiar, August 4th, 1850. 

68. To Simon Lowy in Vienna.* 

Weymar, August $th } 1850. 

Dear Friend, 

My cousin Edward writes me word that you are 
a little piqued at my long silence, — and I, shall I tell 
you frankly ? am a little piqued that you have not yet 
thought of coming to see me, and of transferring your 
bath season to some place in the neighbourhood of 
Weymar. Will you make peace with me ? — 

Accept as a friend the 'invitation I give you in all 
friendship. Arrive at Weymar the 23rd of August, and 
stay till the 30th at least. You will find several of your 
friends here, — Dingelstedt, Jules Janin, Meyerbeer (?), 
etc., — and you will hear, firstly, on the evening of the 
24th, a good hour and a half of music that I have just 
composed (Overture and Choruses) for the Prometheus 
of Herder, which will be given as a Festal Intro- 
duction to the inauguration of his statue in bronze 
by Schaller of Munich, which is fixed for the 25th ; 
secondly, on the evening of the 25th, Handel's Messiah) 
thirdly, on the 28th, the anniversary of Goethe's birth, a 

* Autograph in the Royal Library in Vienna. Printed in a 
German translation, La Mara, " Letters of Musicians during Five Cen- 
turies," vol. ii. 


remarkably successful Prologue made, ad hoc, for that 
day by Dingelstedt, followed by the first performance 
of Wagner's Lohengrin. This work, which you cer- 
tainly will not have the opportunity of hearing so soon 
anywhere else, on account of the special position of the 
composer, and the man) 7 difficulties in its performance, 
is to my idea a chef-d'oeuvre of the highest and most 
ideal kind ! Not one of the operas which has enter- 
tained the theatres for the past twenty years can give 
any approximate idea of it. 

So don't be piqued any longer, or rather, dear friend, 
be piqued with curiosity to be one of the first to hear 
such a beautiful thing. Sulk with Vienna, for a few 
weeks at least, instead of sulking with me, which is 
all nonsense, and believe me always and ever 

Your most sincerely attached, but very much occupied, 
\txy much pre-dccupied, and oftentimes very absorbed 

friend > F. Liszt. 

69. To Mathilde Graumann * 


Here is the letter for the Grand Master de 
Ltittichau, which M. de Ziegesar has just written in 
your honour and glory, with all the good grace and 
obligingness which he keeps for you. 

As regards introductions to Berlin there is a provok- 
ing contretemps for you. H.R.H. the Princess of 
Prussia will pass the winter at Coblentz. 

Meyerbeer, to whom I beg you to remember me 

* Given by the addressee, subsequently celebrated as Mathilde 
Marchesi, teacher of singing, in " Aus meinem Leben " (Bagel, 


respectfully, will certainly be your best patron with 
the Court, and I have no doubt that he will receive 
you with sympathy and interest. 

I will also send you, in the course of the week, a 
letter for the Chamberlain of H.R.H. Princess Charles 
of Prussia, which Ziegesar has promised me. 

As to our concert, fixed for the 19th (Saturday next), 
I assure you frankly that I should not have ventured to 
speak to you of it, and that I hardly venture now. 

The receipts are to be devoted to some pension 
fund, always so low in funds in our countries; conse- 
quently I am not in a position to propose any suitable 
terms. Now as, on the occasion of the performance 
of the Messiah, you have already been only too kind 
to us, it really would not do for me to return to the 
charge, unless you were to authorise me to do so quite 
directly and positively, by writing me an epistolary 
masterpiece somewhat as follows : — 

" I will sing in a perfunctory manner, but with the 
best intentions and the best will in the world, the air 
from . . . (here follows the name of the piece), and 
the duet from Semiramide with Milde or Mademoiselle 
Aghte, next Saturday; and in order not to put any- 
body out, I will arrive at the exact time of the rehearsal, 
on Friday at four o'clock." 

If any such idea as this should come into your head 
please let me know (by telegram if need be), so that 
by Monday night, or, at latest, Tuesday midday, I may 
be able to make the programme, which must appear by 
Wednesday morning at latest. 

With homage and friendship, 

Friday, October nth, 1850. F. LlSZT. 


Be so kind as to give a friendly shake of the hand 
from me to Joachim ; recommend him not to be too 
late in arriving at Weimar, where we expect him for 
the evening of the 14th. 

P.S. — At the moment when I was going to send my 
letter to the post the following lines reached me. I 
send them to you intact, and you will see by them that 
you could not have friends better disposed towards 
you than those of Weimar. 

Please do not fail to write direct to Ziegesar to thank 
him for his kindness, of which you have been sensibly 
informed by me (without alluding to his letter, which 
you will return to me), and at the same time say exactly 
which week you will arrive in Berlin ; unless, however, 
you prefer to come and tell him this verbally on Friday 
or Saturday evening at the Altenburg, after you have 
again chanted to us and enchanted us.* 

70. To Carl Reinecke. 

Dear Reinecke, 

Here are the letters for Berlioz and Erard that 
I offered you. I add a few lines for the young Prince 
Eugene Wittgenstein, with whom you will easily have 
pleasant relations ; he is an impassioned musician, and 
is remarkably gifted with artistic qualities. In addition, 
I have had a long talk about your stay in Paris, and 
the success which you ought to obtain, with Belloni, 
who came to me for a few days. You will find him 
thoroughly well disposed to help you by all the means in 
his power, and I would persuade you to have complete 

* Literal translation, on account of play on words. 


confidence in him. Go and look for him as soon as ever 
you arrive, and ask him for all the practical information 
you require. Make your visit to Messrs. Escudier with 
him. (N.B. — He will explain why I have not given 
you a letter for Brandus.) 

The greater number of your pieces have hitherto 
been printed exclusively by Escudier, and in my opinion 
you would do well to keep well with them in conse- 
quence. In your position it is not at all necessary to 
make advances to everybody— and, moreover, it is the 
very way to have no one for yourself. Look, observe, 
and keep an intelligent reserve, and don't cast yourself, 
German-wise, precipitately into politeness and inop- 
portune modesty. 

In one of your leisure hours Belloni will take you 
to Madame Patersi, who is entrusted with the education 
of my two daughters, for whom I beg a corner of your 
kind attention. Play them your Polonaise and Ballade, 
and let me hear, later on, how their very small know- 
ledge of music is going on. Madame Patersi, as I told 
you, will have much pleasure in introducing you to her 
former pupil, Madame de Foudras, whose salon enjoys 
an excellent reputation. 

Need I renew to you here the request of my four 
cardinal points ? — No, I am sure I need not ! — Accept 
then, dear Reinecke, all my heartiest wishes for this 
new year, as well as for your journey to Paris. Let 
me hear of you through Belloni, if you have not time 
to write to me yourself, and depend in all circumstances 
on the very cordial attachment of 

Yours sincerely and affectionately, 

January 1st, 1851. f. LlSZT. 


My return to Weymar' is unfortunately again post- 
poned for twenty days, by the doctor's orders, to 
which I submit, although not personal to myself. 1 

71. To Leon Escudier, Music Publisher in Paris.*" 

Weymar, February 4th, 1851. 

My dear Sir, 

The proofs of the two first articles of ray 
biographical study of Chopin ought to have reached 
you some days ago, for I corrected and forwarded 
them immediately on my return to Weymar. You 
will also find an indication of how I want them divided, 
which I shall be obliged if you will follow. # Both on 
account of the reverence of my friendship for Chopin, 
and my desire to devote the utmost care to my present 
and subsequent publications, it is important to me 
that this work should make its appearance as free from 
defects as possible, and I earnestly request you to give 
most conscientious attention to the revision of the last 
proofs. Any alterations, corrections, and additions 
must be made entirely in accordance with my directions, 
so that the definitive publication, which it would be 
opportune to begin at once in your paper, may satisfy 
us and rightly fulfil the aim we have in view. If 
therefore your time is too fully occupied to give you 
the leisure to undertake these corrections, will you be 

1 They referred to Princess Wittgenstein, who was ill. 

* Autograph in the possession of M. Arthur Pougin in Paris. — 
The addressee was at that time the manager of the periodical La 
France Musicale, in which Liszt's Memoir of Chopin first appeared 
in detached numbers (beginning from February 9th, 185 1). 

VOL. I. 8 


so good as to beg M. Chavee ! (as you propose) to do 
me this service with the scrupulous exactitude which 
is requisite, for which I shall take the opportunity of 
expressing to him personally my sincere thanks ? 

In the matter of exactitude you would have some 
right to reproach me (I take it kindly of you to have 
passed it over in silence, but I have nevertheless 
deserved your reproaches, apparently at least) with 
regard to Schubert's opera. 2 I hope Belloni has 
explained to you that the only person whom I can 
employ to make a clear copy of this long work has 
been overwhelmed, up to now, with pressing work. 
It will therefore be about three months before I can 
send you the three acts, the fate of which I leave in 
your hands, and for which, by the aid of an interesting 
libretto, we may predict good luck at the Opera 
Comique. I will return to this matter more in detail 
when I am in the position to send you the piano score 
(with voice), to which, as yet, I have only been able 
to give some too rare leisure hours, but which I 
promise you I will not put off to the Greek Calends ! 

As far as regards my opera, allow me to thank you 
for the interest you are ready to take in it. For my 
own part I have made up my mind to work actively at 
the score. I expect to have a copy of it ready by the 
end of next autumn. We will then see what can be 
done with it, and talk it over. 

Meanwhile accept, my dear sir, my best thanks and 
compliments. y. Liszt. 

1 An eminent Belgian linguist, at that time a collaborator on the 
France Musicale. 

2 Alfonso and Estrclla, which Liszt produced at Weimar in 1854. 


The proofs of the third and fourth articles on Chopin 
will be posted to you to-morrow. 

Has Belloni spoken to you about F. David's Salon 
Musical (twenty-four pieces of two pages each, very 
elegantly written and easy to play) ? — I can warmly 
recommend this work to you, both from the point of 
view of art, and of a profitable, and perhaps even 
popular, success. 1 

72. To Carl Reinecke. 

My dear Mr. Reinecke, 

I am still writing to you from Eilsen ; your 
two kind and charming letters found me here and have 
given me a very real pleasure. You may rest quite 
assured during your life of the sincere and affectionate 
interest I feel for you, an interest of which I shall 
always be happy to give you the best proofs as far as 
it depends on me. 

Madame Patersi is loud in her praises both of your 
talent and of yourself, — and I thank you sincerely for 
having so well fulfilled my wishes with regard to the 
lessons you have been so kind as to give to Blandine 
and Cosima. 2 Who knows ? Perhaps later on these 
girls will do you honour in a small way by coming out 
advantageously with some new composition by their 
master Reinecke, to the great applause of Papa ! 

Hiller shows tact and taste in making sure of you as 

1 Presumably Ferdinand David's " Bunte Reihe," Op. 30, which 
Liszt transcribed for piano alone. 

2 Liszt's daughters. Blandine (died 1872) became afterwards the 
wife of Emile Ollivier ; Cosima is the widow of Wagner. 


a coadjutor at the Rhenish Conservator -iitm, which seems 
to be taking a turn not to be leaky everywhere. 
Cologne has much good, notwithstanding its objection- 
able nooks. Until now the musical ground there has 
been choked up rather than truly cultivated ! People 
are somewhat coarse and stupidly vain there ; I know 
not what stir of bales, current calculations, and cargoes 
incessantly comes across the things of Art. It would 
be unjust, however, not to recognise the vital energy, 
the wealth of vigour, the praiseworthy activity of this 
country, in which a group of intelligent men, nobly 
devoted to their task, may bring about fine results, 
more easily than elsewhere. 

At any rate I approve of what you have done, and 
compliment you on having accepted Hiller's offer, 1 and 
shall have pleasure in sending to your new address 
some of my latest publications, which will appear towards 
the end of May (amongst others a new edition, com- 
pletely altered and well corrected, I hope, of my 
twelve great Etudes, the Concerto without orchestra 
dedicated to Henselt, and the six " Harmonies Poetiques 
et Religieuses"). I have also written a very melancholy 
Polonaise, and some other trifles which you will per- 
haps like to look over. 

Let me hear from you soon, my dear Mr. 
Reinecke, and depend, under all circumstances, on the 
faithful attachment of 

Yours affectionately and sincerely, 

F. Liszt. 

Eilsen, March igt/i, 1 85 1. 

1 Namely, a position as Professor at the Conservatorium of Cologne, 
which Reinecke occupied from 185 1 to 1854. 


71. To Dr. Eduard Liszt in Vienna.* 

[Weimar, 1S51.] 

Dear, excellent Eduard, 

It will be a real joy to me to take part in your 
joy, and I thank you very cordially for having thought 
first of me as godfather to your child. I accept that 
office very willingly, and make sincere wishes that this 
son may be worthy of his father, and may help to 
increase the honour of our name. Alas ! it has been 
only too much neglected and even compromised by the 
bulk of our relations, who have been wanting either in 
noble sentiments, or in intelligence and talent — some 
even in education and the first necessary elements — to 
give a superior impulse to their career and to deserve 
serious consideration and esteem. Thank God it is 
otherwise with you, and I cannot tell you what a sweet 
and noble satisfaction I derive from this. The intelli- 
gent constancy which you have used to conquer the 
numerous difficulties which impeded your way; the 
solid instruction you have acquired ; the distinguished 
talents you have developed ; the healthy and wise 
morality that you have ever kept in your actions and 
speech ; your sincere filial piety towards your mother ; 
your attachment, resulting from reflection and convic- 
tion, to the precepts of the Catholic religion ; these 
twenty years, in fine, that you have passed and 

* An uncle of Liszt's (that is, the younger half-brother of his 
father), although Liszt was accustomed to call him his cousin : a noble 
and very important man, who became Solicitor-General in Vienna, 
where he died February 8th, 1879. Franz Liszt clung to him with 
ardour, as his dearest relation and friend, and in March, 1867, made 
over to him the hereditary knighthood. 


employed so honourably, — all this is worthy of the 
truest praises, and gives you the fullest right to the 
regard and esteem of honest and sensible people. So 
I am pleased to see that you are beginning to reap 
the fruits of your care, and the distinguished post to 
which you have just been appointed 1 seems to justify 
the hopes that you confided to me formerly, and 
which I treated, probably wrongly, as so much naive 
ambition. At the point at which you have arrived it 
would be entirely out of place for me to poke advice 
and counsel out of season at you. Permit me, for the 
sake of the lively friendship I bear you, and the ties 
of relationship which bind us together, to make this one 
and only recommendation, " Remain true to your- 
self ! " Remain true to all you feel to be highest, 
noblest, most right and most pure in your heart ! 
Don't ever try to be or to become something (unless 
there were opportune and immediate occasion for 
it), but work diligently and with perseverance to be 
and to become more and more some one. — Since the 
difficult and formidable duty has fallen upon you of 
judging men, and of pronouncing on their innocence 
or guilt, prove well your heart and soul, that you may 
not be found guilty yourself at the tribunal of the 
Supreme Judge, — and under grave and decisive cir- 
cumstances learn not to give ear to any one but your 
conscience and your God ! — 

Austria has shown lately a remarkable activity, and 

a military and diplomatic energy the service of which 

we cannot deny for the re-establishment of her credit 

and political position. Certainly by the prevision 

1 He had been made Assistant Public Prosecutor in 1850. 


of a great number of exclusive Austrians — a prevision 
which, moreover, I have never shared — it is probable 
that the Russian alliance will have been a stroke of dip- 
lomatic genius very favourable to the Vienna Cabinet, 
and that, in consequence of this close alliance, the 
monarchical static quo will be consolidated in Europe, 
notwithstanding all the democratic ferments and dissolv- 
ing elements which are evidently, whatever people may 
say, at their period of ebb. I do not precisely believe 
in a state of tranquillity and indefinite peace, but simply 
in a certain amount of order in the midst of disorder 
for a round dozen of years, the main spring of this 
order being naturally at Petersburg. From the day 
in which a Russian battalion had crossed the Austrian 
frontier my opinion was fixed, and when my friend Mr. 
de Ziegesar came and told me the news I immediately 
said to him, " Germany will become Russian, and for 
the great majority of Germans there is no sort of 
hesitation as to the only side it remains to them to 

The Princess having very obligingly taken the 
trouble to tell you my wishes with regard to my money 
matters, I need not trouble you further with them, and 
confine myself to thanking you very sincerely for your 
exactness, and for the discerning integrity with which 
you watch over the sums confided to your care. May 
events grant that they may prosper, and that they may 
not become indispensable to us very soon. — 

Before the end of the winter I will send you a parcel 
of music (of my publications), which will be a distraction 
for your leisure hours. I endeavour to work the 
utmost and the best that I can, though sometimes a 


sort of despairing fear comes over me at the thought of 
the task I should like to fulfil, for which at least ten 
years more of perfect health of body and mind will be 
necessary to me. 

Give my tender respects to Madame Liszt ; you two 
form henceforth my father's entire family ; and believe 
in the lively and unalterable friendship of 

Your truly devoted, 

F. Liszt. 

74. To Count Casimir Esterhazy.* 

Let me thank you very sincerely for your kind 
remembrance, dear friend, and let me also tell you how 
much I regret that my journey to Hohlstein cannot 
come to pass during your short stay there. But as by 
chance you already find yourself in Germany, will you 
not push on some fine day as far as Weymar ? — I 
should have very great pleasure in seeing you there 
and in receiving you — not in the manorial manner in 
which you received me at Presburg, but very cordially 
and modestly as a conductor, kept by I know not what 
strange, chance of fate at a respectful distance from 
storms and shipwrecks ! — - 

For three weeks past a very sad circumstance has 
obliged me to keep at Eilsen, where I had already 
passed some months of last winter. The reigning 
Prince is, as you have perhaps forgotten, the present 
proprietor of one of your estates, — the Prince of 
Schaumburg-Lippe. If by chance you are owing him 

* Autograph (without address) in the possession of Hcrr Albert 
Cohn, bookseller in Berlin. — The addressee was presumably Count 
Esterhazy, whose guest Liszt was in Presburg in 1840. 


a debt of politeness, the opportunity of putting yourself 
straight would be capital for me. Nevertheless I dare 
not count too much on the attractions of the grandeur 
and charms of Buckeburg ! and I must doubtless resign 
myself to saying a longer farewell to you. 

Let me know by Lowy of Vienna where I shall 
address to you some pieces in print which you can look 
over at any leisure hour, and which I shall be delighted 
to offer you. I will add to them later the complete 
collection of my Hungarian Rhapsodies, which will now 
form a volume of nearly two hundred pages, of which 
I shall prepare a second edition next winter. 

Hearty and affectionate remembrances from 

Yours ever, 

F. Liszt. 

Eilsex, June 6th, 1 851. 

75. To Theodor Uhlig, Chamber Musician in 

The perusal of your most kind and judicious 
article in Brendel's Musical Gazette on the " Goethe 
Foundation " x confirms me in the belief that I could 
not fail to be understood by you in full intelligence of 
the cause. Allow me then, my dear Mr. Uhlig, to 
thank you very cordially for this new proof of your 
obligingness and of your sympathy — in French, as this 

* Autograph in the possession of Herr Hermann Scholtz, Chamber 
virtuoso in Dresden. — The addressee, who was an intimate friend of 
Wagner's (see " Wagner's Letters to Uhlig, Fischer, Heine " — London : 
H. Grevel & Co., 1890), gained for himself a lasting name by his 
pianoforte score of Lohengrin. He died January, 1853. 

1 By Liszt, 1850. See "Gesammelte Schriften," vol. v. 


language becomes more and more familiar and easy to 
me, whereas I am obliged to make an effort to patch up 
more or less unskilfully my very halting German 

The very lucid explanation that you have made of 
my pamphlet, as well as the lines with which you have 
prefaced and followed it, have given me a real satisfac- 
tion, and one which I did not expect to receive through 
that paper, which, if I am not mistaken, had hitherto 
shown itself somewhat hostile to me personally, and to 
the ideas which they do me the small honour to 
imagine I possess. This impression has been still 
further increased in me by reading Mr. Brendel's 
following article on R. Wagner, which seems to me a 
rather arranged transition between the former point of 
view of the Leipzig school or pupils and the real point 
of view of things. The quotation Brendel makes of 
Stahr's article on the fifth performance of Lohengrin at 
Weymar, evidently indicates a conversion more thought 
than expressed on the part of the former, and at the 
performance of Siegfried I am persuaded that Leipzig 
will not be at all behindhand, as at Lohengrin. 

I do not know whether Mr. Wolf (the designer) has 
had the pleasure of meeting you yet at Dresden ; I had 
commissioned him to make my excuses to you for the 
delay in sending the manuscript of Wiland. Unfortu- 
nately it is impossible for me to think of returning to 
Weymar before the end of July, and the manuscript is 
locked up among other papers which I could not put 
into strange hands. Believe me that I am really vexed 
at these delays, the cause of which is so sad for me. 

If by chance you should repass by Cologne and 


Minden, it would be very nice if you could stay a day 
at Buckeburg (Eilsen), where I am obliged to stay till 
the 15th of July. I have not much pleasure to offer 
you, but in return we can talk there at our ease of 
the St. Graal. . . . 

My pamphlet " Lohengrin and Tannhauser " will 
appear in French at Brockhaus' towards the end of 
July. It will have at least the same circulation as the 
" Goethe Foundation," and I will send you by right one 
of the first copies. 

Kind regards to Wagner, about whom I have written 
a great deal lately without writing to him ; and believe 
me yours very sincerely, 

F. Liszt. 

Eilsen (Buckeburg), June 25///, 1851. 

76. To Rosalie Spohr in Brunswick.* 

After your amiable authorisation to do so, 
Mademoiselle, I have had your concert announced at 
Eilsen for Tuesday next, July 8th, and you may rest 
assured that the best society of Buckeburg and of the 
Badegciste [visitors who go for the baths] will be 

The price of the tickets has been fixed for 1 florin, 
which is the maximum customary in this country. 
With regard to the programme, I await your reply, in 
which I shall be glad if you will tell me the four or five 
pieces you will choose, amongst which will be, I hope, 

* Niece of Louis Spohr, and an incomparable harpist,— " The most 
ideal representative of her beautiful instrument," according to 
Billow ; after her marriage with Count Sauerma she retired from 
public life and now lives in Berlin. 


Parish Alvars' Fantaisie on motives from Obcron and 
the Danse des Fees. 

A distinguished amateur, Monsieur Lindemann of 
Hanover, has promised me to play one or two violon- 
cello solos, and the rest of the programme will be 
easily made. 

As to your route, you had better take the Schnellzug 
[express] next Monday, which starts about 1 1 in the 
morning from Brunswick, and brings you to Buckeburg 
in less than three hours. From here it will only take you 
thirty-five minutes to get to Eilsen. The most simple 
plan for you would be not to write to me beforehand 
even, but to improvise your programme according 
to your fancy here. Only let me beg you not to 
arrive later than Monday evening, so that the public 
may be free from anxiety, and to set my responsibility 
perfectly at rest in a corner of your harp-case. 

May I beg you, Mademoiselle, to remember me 
affectionately to your father? and be assured of the 
pleasure it will be to see you, hear you, and admire 
you anew, to your sincere and devoted servant, 

F. Liszt. 

Eilsen, July yd, 1S5 1. 

I beg you once more not to be later than next 
Monday, July 7th, in coming to Eilsen. 

yy. To Rosalie Spohr. 

I am deeply sensible of your charming lines, 
Mademoiselle, the impression of which is the com- 
pletion for me of the harmonious vibrations of your 
beautiful talent, — vibrations which are still resounding 



in the woods and in your auditors at Eilsen. While 
expressing to you my sincere thanks I should reproach 
myself were I to forget the piquant and substantial 
present that your father has sent me, and I beg you to 
tell him that we have done all honour to the savoury 
product of Brunswick industry. The Biickeburg in- 
dustry having a certain reputation in petto in the 
matter of chocolate, the Princess, who sends her best 
regards to you and your family, wishes me to send you 
a sample, which you will receive by to-morrow's post. 
The chocolate, in its quality of a sedative tonic, will, 
moreover, not come amiss in the intervals of }^our 

May I beg you, Mademoiselle, to give my affection- 
ate compliments to your parents as well as to the 
clever drawing-historiographer l whom you know ? and 
receive once more the best wishes of yours most truly, 

F. Liszt. 

Eilsen, July 22nd, 1S51. 

8. To Breitkopf and Hartel. 

Allow me, my dear Mr. Hartel, to make known 
to you, as a kind of curiosity, a very long piece I 
composed last winter on the chorale " Ad Nos " from 
the Prophete. If by chance you should think well to 
publish this long Prelude, followed by an equally long- 
Fugue, I could not be otherwise than much obliged to 
you ; and I shall take advantage of the circumstance to 

1 The younger sister of the addressee, Ida Spohr, at that thru 
sixteen years old, who was a most gifted creature, both in poetn, , 
painting, and music. She died young, at the age of twenty-four. 


acquit myself, in all reverence and friendship, of a 
dedication to Meyerbeer, which it has long been my 
intention to do; and it was only for want of finding 
among my works something which would suit him in 
some respect, that I have been obliged to defer it till 
now. I should be delighted therefore if you would 
help me to fill up this gap in the recognition I owe to 
Meyerbeer ; but I dare not press you too much for fear 
you may think that my Fugue has more advantage in 
remaining unknown to the public in so far that it is in 
manuscript, than if it had to submit to the same fate 
after having been published by your care. 

In accordance with your obliging promise, I waited 
from week to week for the preface that Mr. Wagner 
has added to his three opera poems. I should be glad 
to know how soon you expect to bring them out, and 
beg you to be so good as to send me immediately three 

Believe me, my dear Mr. Hartel, 

Yours affectionately and most truly, 

F. Liszt. 

Weymar, December \st, 1 85 1. 

P.S. — Would it perhaps do to bring out my Fugue 
on the Prophete as No. 4 of my " Illustrations du 
Prophete" ? That was at least my first intention. 1 In 
the same parcel you will find the piano score of the 
Prophete, which I am very much obliged to you for 
having lent me. 

1 It was published in that form by Breitkopf and Hartel. 


79. To Louis Kohler in Konigsberg. 1 

Dear Sir, 

The friendly kindness with which you have 
spoken of a couple of my latest compositions lays me 
under an obligation of warm thanks, which I must no 
longer delay having the pleasure of expressing to you. 
I should be very glad if you find anything that suits 
you in my next impending piano publication (the new, 
entirely revised edition of my Studies, the " Harmonies 
Poetiques et Religieuses," and the two years of " Annees 
de Pelerinage, Suite de Compositions," etc.). In any 
case I shall venture to send this work, with the request 
that you will accept it as a token of my gratitude for 
the favourable opinion which you entertain of my 
artistic efforts. 

At this moment I have to compliment you also very 
much on your arrangement of the Hungarian Volks- 
lieder* For several years past I have been occupied 
with a similar work, and next winter I think of publish- 
ing the result of my national studies in a pretty big 
volume of Hungarian Rhapsodies. Your transcriptions 
have interested me much through the correct perception 
of the melodies, and their elegant though simple style. 

Senff 2 showed me also in manuscript a book of 
Russian melodies, that seemed to me most successful. 
When will it come out ? 

If by any chance you have a spare copy of your new 

1 An important piano teacher and writer on music, and composer 
of valuable instructive works (1S20-S6). 

* Folk Songs. 

2 The well-known Leipzig music publisher. 


work, the exact title of which I do not remember, but 
it is somewhat as follows, " Opern am Clavier"* or 
" Opern fur Clavierspieler "f (or, in French, " Repertoire 
d'Opera pour les Pianistes "), I should be much obliged 
if you would let me have one. 

Accept, dear sir, my best respects, and believe me 

Yours truly, 

F. Liszt. 

Weymar, April \6th, 1852. 

80. To Carl Reinecke. 

My dear Mr. Reinecke, 

A very good friend of mine, Professor Weyden 
of Cologne, who has just been spending a few days 
with me here, kindly promises to give you these few 
lines and to tell you what pleasure your present of the 
" Variations on a Theme of Bach " has given me. It is a 
very eminent work, and perfectly successful in its actual 
form. While complimenting you sincerely upon it, I 
must also add my thanks that you have joined my 
name to it. 

I should have liked to be able to send you some of 
my new works for piano, of which I spoke to you 
before ; but, as I have been altering them and touch- 
ing them up, the publication of them has been delayed ; 
nevertheless, I expect that in the course of this summer 
the twelve Grandes Etudes (definitive edition) and the 
" Harmonies Poctiques et Religieuses " will successively 
appear, and in December or January next the " Annees 
de Pelerinage, Suite de Compositions pour le Piano," 
and the complete collection of my Hungarian Rhapsodies. 
* Operas at the Piano. f Operas for Pianoforte Players. 


Meanwhile, let me offer you the " Concert Solo" and 
the two Polonaises which were written at Eilsen shortly 
after your visit to me there. 

Joachim starts to-morrow for London, and I have 
commissioned him to persuade you to come and see 
me at Weymar on his return. I have been much 
attached to him this winter, and I hold his talent as 
well as himself in high esteem and true sympathy. — 

Try not to delay too long the pleasure I should have 
in hearing your trio ; I shall be delighted to make the 
acquaintance of Madame Reinecke, and would not wish 
to be among the last to congratulate you on your 

In cordial friendship, yours ever, 

F. Liszt. 

Weymar, April 16th, 1S52. 

81. To Carl Czerny.* 

My dearest and most honoured Master and Friend, 
A melancholy event which has thrown our Court 
into deep mourning — the sudden death of the Duchess 
Bernard of Saxe-Weimar — has not allowed of my 
presenting your letter to Her Imperial Highness the 
Grand Duchess until a day or two ago. She has been 
pleased to receive your letter and your intentions with 
marked kindness, the expression of which you will find 
in the accompanying letter which she charged Baron 
de Vitzthum to write you in her name. 

May I beg you then to advise Mr. Schott to send 
me immediately on the publication of your " Gradus ad 
Parnassum " a dedication copy, which I will get suitably 

* Autograph in the archives of the Musik-Verein in Vienna. 
VOL. I. 9 


bound in velvet here, and which I will immediately 
remit to H.I.H. — As regards the form of dedication, I 
advise you to choose the most simple : — 

Gradus ad Parnassum, etc., 

Compose et tres respectueusement dedie a Son Altesse 
Imperiale et Royale Madame la Grande Duchesse 
de Saxe-Weimar-Eisenach Marie Paulowna, par Ch. 

Or if the title be in German : — 

Componirt und I. kais. kon. Hoheit der Frau Gross- 
herzogin zu Sachsen-Weimar-Eisenach Marie Pau- 
lowna, in tiefster Ehrfurcht gewidmet, von C. Cz. 

What you tell me of the prodigious activity of your 
Muse obliges me to make a somewhat shameful acknow- 
ledgment of my relative slowness and idleness. The 
pupil is far from the master in this as in other points. 
Nevertheless I think I have made a better use of the 
last three years than of the preceding ones ; for one 
thing I have gone through a rather severe work of 
revision, and have remodelled entirely several of my 
old works (amongst others the Studies which are dedi- 
cated to you, and of which I will send you a copy of the 
definitive edition in a few weeks, and the " Album d'un 
Voyageur," which will reappear very considerably cor- 
rected, increased, and transformed under the title of 
"Annees de Pelerinage, Suite de Compositions pour le 
Piano — Suisse et Italie ") : for another thing I have 
been continuing writing in proportion as ideas came to 

* Composed and most respectfully dedicated to Her Royal and 
Imperial Highness Marie Paulowna, Grand Duchess of Saxe-Weimar- 
Eisenach by Ch. Czerny. 


me, and I fancy I have arrived at last at that point where 
the style is adequate to the thought. Unfortunately 
my outside occupations absorb much of my time. The 
orchestra and opera of Weymar were greatly in need 
of reform and of stirring up. The remarkable and 
extraordinary works to which our theatre owes its 
new renown — Tannhciuser, Lohengrin, Benvennto 
Cellini — required numerous rehearsals, which I could 
not give into the hands of anybody else. The day 
before yesterday a very pretty work, in an elegant and 
simple melodic style, was given for the first time — 
Der histige Rath* by Mr. de Vesque, which met with 
complete success. Carl Haslinger, who had arrived 
for the first performance of Cellini, was also present 
at this, and can tell you about it. In the interval 
between these two works, on Sunday last, he had his 
Cantata-Symphony Napoleon performed, and conducted 
it himself (as a rather severe indisposition has obliged 
me to keep my room for several days). 

In the course of the month of June my mother, who 
proposes to pay a visit to her sister at Gratz, will 
have the privilege of going to see you, dear master, 
and of renewing to you, in my name and her own, 
our expressions of sincere gratitude to you for the 
numerous kindnesses you have shown me. Believe 
me that the remembrance of them is as lively as it 
is constant in my heart. 

I owe you still further thanks for the trouble you 

have taken to make Mr. de Hardegg study Schubert's 

Fantasia, scored by me, and I beg you to give him my 

best compliments. It is perhaps to be regretted that 

* The Merry Councillor (or counsel). 


this work, which contains many fine details, should 
have been played for the first time in the Salle de 
Rcdontc, so " redoutable" and ungrateful a room for 
the piano in general ; in a less vast space, such as the 
sallc of the Musik-Verein y the virtuoso and the work 
would assuredly have been heard more to advantage, 
and if I did not fear to appear indiscreet I should ask 
Mr. de Hardegg to play it a second time, in a concert 
room of moderate size. 

I have inquired several times as to the talent and 
the career of Mr. de Hardegg, in whom I naturally feel 
an interest from the fact of the interest you take in 
him. If by chance he should be thinking of making 
a journey to this part of Germany, beg him from me 
not to forget me at Weymar. I shall be delighted to 
make his acquaintance, and he may be assured of a 
very affectionate reception from me. 

Accept, my dear and honoured friend, every assurance 
of my high esteem, and believe that I shall ever remain 
Your very faithful and grateful 

F. Liszt. 

Weymar, April 19th, 1852. 

82. To Gustav Schmidt, Capellmeister at Frank- 

Dear Friend, 

. — . The idea of a Congress of Capellmeisters is 
indeed a very judicious one, and from a satisfactory 

* Autograph (without address) in the possession of M. Alfred 
Bovet at Valcntigney. — The addressee was, in any case, the above- 
mentioned (1816-82), finally Court-Capellmeister (conductor) at 
Darmstadt, the composer offthe operas Prim Eitgcn, Die J J 'cider von 
Weinsberg. and others. 


realisation of it only good and better things could 
result for the present divided state of music. There 
is no question that in the insulation and paralysing 
of those who are authorities in Art lies a very powerful 
hindrance, which, if it continues, must essentially injure 
and endanger Art. Upon certain principles an union is 
necessary, so that the results of it may be actively 
applied, and it especially behoves Capellmeisters 
worthily to maintain the interests of music and musicians. 
A meeting such as you propose would be a timely 
one; only you will approve of my reasons when I 
renounce the honour of proposing this meeting for 
Weimar, and indicate Spohr to you as the proper head. 
The master Spohr is our senior; he has always 
furthered the cause of music as far as circumstances 
at Cassel permitted — the Fliegender Hollander was 
given at Cassel under his direction earlier than 
Tannhduser was given at Weymar. Talk it over with 
him, which from the near vicinity of Frankfort you 
can easily do, and if, as I do not doubt, he enters 
into your project, fix the date and let me know. 1 
shall gladly take part in the matter, and will make 
it my business to do my share towards bringing about 
the desired results. 

Tannhduser is announced for the 31st of this month 
(on occasion of the presence of Her Majesty the Empress 
of Russia). Beck takes the title-role at this performance. 
We shall give Schumann's Manfred a few days later. 
For next season the Fliegender Hollander and Spohr's 
Faust, with the new Recitatives which he wrote for 
London, are fixed. 

Farewell, and happiness attend you, dear friend ; 


remember me kindly to your wife, and believe me 

Yours most sincerely, 

F. Liszt. 

Weymar, May iSt/i, 1852. 

83. To Robert Schumann.* 

My very dear Friend, 

It is with great pleasure that I am able to 
announce to you the first performance of Manfred for 
next Sunday, June 13th, and to invite you to come to 
it. 1 I hope that, at this time of year, your Diisseldorf 
duties will allow of your coming here for a couple 
of days, and that probably you will bring Clara with 
you, to whom please remember me very kindly. 
Should you, however, come alone, I beg that you will 
stay with me at the Altenburg, where you can make 
yourself perfectly at home. The last rehearsal is fixed 
for Friday afternoon ; perhaps it would be possible for 
you to be present at it, which of course would be very 
agreeable to me. Your Leipzig friends will see the 
announcement of this performance in the papers, and 
I think you will consider it your bounden duty not 
to be absent from us at this performance. 

Wishing you always from my heart the best spirits 
for your work, good health, and " every other good 
that appertains thereto," I remain unalterably 

Yours most sincerely, 

F. Liszt. 

Weymar, Jnne 8///, 1852. 

* Autograph in the Royal Library in Berlin. 

1 Manfred was put on the stage for the first time by Liszt. 


84. To Robert Schumann.* 

My very dear Friend, 

I regret extremely that you could not come to 
the second performance x of your Manfred, and I believe 
that you would not have been dissatisfied with the 
musical preparation and performance of that work 
(which I count among your greatest successes). The 
whole impression was a thoroughly noble, deep, and 
elevating one, in accordance with my expectations. The 
part of Manfred was taken by Herr Potsch, who 
rendered it in a manly and intelligent manner. With 
regard to ' the mise-en-scene something might be said ; 
yet it would be unfair not to speak in praise of the 
merits of the manager, Herr Genast. It seems to me 
therefore that it would be nice of you to write a friendly 
line of thanks to Herr Genast, and commission him 
to compliment Herr Potsch (Manfred) and the rest 
of the actors from you. 

One only remark I will permit myself: the introduc- 
tion music to the Ahriman chorus (D minor) is too 
short. Some sixty to a hundred bars of symphony, 
such as you understand how to write, would have a 
decidedly good effect there. Think the matter over, 
and then go fresh to your desk. Ahriman can stand 
some polyphonic phrases, and this is an occasion where 
one may rant and rage away quite comfortably. 

Shall I send you your manuscript score back, or 
will you make me a lovely present of it ? I am by 

* Autograph in the Royal Library in Berlin. 

1 This might perhaps also be read " first performance." 


no means an autograph-collector, but the score, if you 
don't require it any longer, would give me pleasure. 

A thousand friendly greetings to Clara, and beg 
your wife to let me soon hear something of you. 
In truest esteem and friendship, 

Yours ever, 

F. Liszt. 

Weymar, June 26///, 1852. 

85. To Peter Cornelius. 1 

Weymar, September 4th, 1S52. 
It has been a great pleasure to me, my dear 
Mr. Cornelius, to make the acquaintance of your 
brother, and I only regret that he passed several days 
here without letting me know of his stay. Your letter, 
which reached me through him, has given me a real 
pleasure, for which I thank you very affectionately. 
Short though our acquaintance has been, I am pleased to 
think that it has been long enough to establish between 
us a tie which years will strengthen without changing 
the natural and reciprocal charm. I congratulate you 
very sincerely in having put the fine season to so good 
a use by finishing the church compositions you had 
planned. That is an admirable field for you, and I 
strongly advise you not to give in till you have explored 
it with love and valour for several years. I think that, 
both by the elevation and the depth of your ideas, the 
tenderness of your feelings, and your deep studies, you 

1 The exquisite poet-composer of the operas The Barber 0/ Bagdad, 
The Ctd, and Gunlod, which have at last attained due recognition 



are eminently fitted to excel in the religious style, and 
to accomplish its transformation so far as is nowadays 
required by our intelligence being more awake and our 
hearts more astir than at former periods. You have 
only to assimilate Palestrina and Bach — then let your 
heart speak, and you will be able to say with the prophet, 
" I speak, for I believe ; and I know that our God 
liveth eternally." 

We spoke with your brother about your vocation 
for composing religious- Catholic music. He enters 
thoroughly into this idea, and will give you help to realise 
it under outer conditions favourable to you. Munster, 
Cologne, and Breslau appeared to us to be.the three places 
for the present where you would find the least obstacles 
in the way of establishing your reputation and making 
a position. But before you go to the Rhine I hope 
you will do me the pleasure of coming to see me here. 
The room adjoining that which Mr. de Billow occupies 
is entirely at your service, and it will be a pleasure to 
me if you will settle yourself there without any cere- 
mony, and will come and dine regularly with us like 
an inhabitant of the Altenburg. The theatrical season 
recommences on Sunday next, September 12th, with 
Verdi's Ernani. In the early days of October (at the 
latest) Lohengrin will be given again ; and on the 12th of 
November I expect a visit from Berlioz, who will spend 
a week at Weymar. Then we shall have Cellini, the 
Symphony of Romeo and Juliet, and some pieces from 
the Faust Symphony. 

Kindest regards from yours ever, 

F. Liszt. 


S6. To Clara Schumann. 

Weymar, September iitJi, 1852. 

It is not without regret that I obey your wish, 
Madame, in returning to you the autograph score of 
Manfred, for I confess that I had flattered myself a 
little in petto that Robert would leave it with me in 
virtue of possession in a friendly manner. Our theatre 
possesses an exact copy, which will serve us for subse- 
quent performances of Manfred; I was tempted to send 
you this copy, which, for revision of proofs, would be 
sufficient, but I know not what scruple of honour kept 
me from doing so. Perhaps you will find that it is 
possible generously to encourage my slightly wavering 
virtue, and in that case you will have no trouble in 
guessing what would be to me a precious reward. . . . 

How is Robert's health ? Have the sea baths done 
him good ? I hope he will soon be restored all right 
to his home circle — and to his composing desk. — 

It would have been very pleasant to me to renew our 
visit of last year to you at Dt'isseldorf, and I was 
indeed touched by the gracious remembrance of it 
which your letter gives me ; but, alas ! an unfortunate 
accident which has happened to my mother, by which 
she nearly broke her leg in coming downstairs, has 
obliged her to keep her bed for more than nine weeks, 
and even now she can only walk with the help of 
crutches, and it will be some months before she is all 
right again. 

Forced as she was to remain at Weymar, I have not 
liked to leave her all this summer, and had to give up 
the pleasure of a holiday excursion. — 


The Princess Wittgenstein, and her daughter (who 
has become a tall and charming young girl), desire me 
to give their very affectionate remembrances to you 
and Robert, to which I add my most sincere wishes 
for the speedy restoration of our friend, and cordial 
assurances of my constant friendship. y j 

Sy. To Carl Czerny.* 

[September or October, 1852.] 

My dear, honoured Master and Friend, 

Permit me to recommend particularly to you 
Professor Jahn, 1 with whose many interesting works of 
criticism and musical literature you are doubtless familiar 
(among others his Introduction to the original score of 
Beethoven's Leonora, published by Hartel in Leipzig). 

Mr. Jahn's object in going to Vienna is to collect 
documents for a biography of Beethoven, which will, I 
am persuaded, supply a want so much felt hitherto by 
the public and by artists. May I beg you — in honour 
of the great man whom you have had the merit of com- 
prehending and admiring, long before the common herd 
joined in chorus around his name — to open the treasures 
of your reminiscences and knowledge to Mr. Jahn, and 
accept beforehand my sincere thanks for the good 
service you will render to Art in this matter ? 

It is with unchangeable attachment that I remain, 
dear master, your very grateful and devoted 

F. Liszt. 

* Autograph in the archives of the Musik-Verein in Vienna. The 
date is wanting; it may be placed, judging from Liszt's letter of 
October 30th, 1852, at the above-mentioned date. 

1 The afterwards celebrated biographer of Mozart. 


P.S.— When will the " Gradus ad Parnassum " come 
out ? — You will receive the copy of my Studies, which 
are dedicated to you, through Mr. Lowy in a few days. 

S8. To Breitkopf and H artel.* 

Weymar, October 30///, 1852. 

My dear Mr. Hartel, 

I have given up to a friend the piano which you 
have been so good as to lend me for some years, and 
he (as I have already informed you verbally) asks me 
to let him defer the payment of it till the end of this 
month. I therefore take this opportunity of proposing 
to you either to let you immediately have the sum fixed 
upon for the piano (400 thalers), or else to make a 
settlement of reciprocal terms up to now, by which we 
shall be quits towards each other. The pleasure and 
advantage which I find in my relations with your house 
are too valuable to me for me not to do all in my 
power properly to maintain them, by conforming to 
your wishes and intentions. Of my works published 
by your house there are, if I mistake not, five — 

12 Etudes d'execution transcendante (2 books), 

6 Etudes d'apres Paganini (2 books), 

Grand Concerto Solo, 

Fantaisie and Fugue on the Chorale from the 

Prophcte (No. 4 of the " Illustrations du 

Prophete "), 
Mass (with Pater Noster and Ave Maria) for four 

male voices with organ accompaniment — 
upon which we have deferred putting a price until now. 

* Autograph in the possession of M. Alfred Bovet at Valentigney. 


Without trying to deceive myself as to the moderate 
returns which these (as it happens, rather voluminous) 
works may bring to your house, I should venture how- 
ever to flatter myself that they have not been an expense 
to you, and that they are even works not unsuited to 
your catalogue. However things may be, I beg you to 
be so good as to use towards me the same sincerity that 
I employ towards you, persuaded as I am that sincerity 
is the only basis of any lasting connection, especially 
when one has to do with things which divers circum- 
stances may render more delicate and complicated. 
Allow me then at last, my dear Mr. Hartel, to pro- 
pose to you to square our accounts by my keeping 
your piano in exchange for the above-mentioned five 
manuscripts, which should also acquit me for the works 
of Marx and Kieseweiter that you have sent me, so that, 
if my proposition suits you, we should be entirely 

I was glad to hear that Mr. Jahn had had occasion 
to be satisfied with his journey to Vienna, and I beg 
you to assure him that I am entirely at his disposal 
with regard to any steps to be taken to help on his 
work on Beethoven, for which I am delighted to be of 
any service to him. 

In a fortnight's time I am expecting Mr. Berlioz here. 
The performances of Benvenuto Cellini will take place on 
the 1 8th and 20th November, and on the 21st the Sym- 
phonies of Romeo and Juliet and Faust will be performed, 
which I proposed to you to publish. If your numerous 
occupations would allow of your coming here for the 20th 
and 2 1 st I am certain that it would be a great interest 
to you to hear these exceptional works, of which it is 


a duty and an honour to me not to let Weymar be in 

Will you, my dear Mr. Hartel, accept this infor- 
mation as an invitation, and also tell your brother, 
Mr. Raymond, what pleasure a visit from him would 
give me during the Berlioz week ? We shall, more- 
over, be at that time in good and romantic company 
of artists and critics from all points, meeting at 

I will send you shortly my Catalogue, which you will 
greatly oblige me by bringing out without very much 
delay. The dispersion and confusion through which 
my works have had to make their way hitherto have 
done them harm, over and above any wrong that they 
already had by themselves ; it is therefore of some 
importance to classify them, and to present to the 
public a categorical insight into what little I am worth. 
As I have promised to send this catalogue to many 
people living in all sorts of countries, I beg that you 
will put to my account, not gratis, some sixty copies, 
which I fear will not be enough for me, but which will 
at least serve to lessen the cost of printing. 

In this connection allow me to recur to a plan of 
which I have already spoken to you — the publication 
in German of my book on Chopin. Has Mr. Weyden 
of Cologne written to you, and have you come to terms 
with him on this subject ? The last time he wrote to 
me he told me that he had not yet had an answer from 
you. As he is equally master of French and -German, 
and as he thoroughly succeeded in his translation of my 
pamphlet on " Tannhauser and Lohengrin," I should be 
glad for the translation of Chopin to be done by him ; 


and in case you decide to publish his work please put 
me down for fifty copies. 

Pray excuse this long letter, my dear Mr. Hartel, 
and believe me very sincerely, 

Yours affectionately and devotedly, 

F. Liszt. 

89. To Breitkopf and Hartel.* 

My dear Mr. Hartel, 

I thank you very heartily for the fresh proof 
of your kind intentions towards me which your last 
letter gives me, and I hasten to return to you herewith 
the two papers with my signature by which our little 
accounts are thus settled. With regard to the extra 
account of about eighty crowns, which I thank you for 
having sent me by the same opportunity, I will not 
delay the paying of it either. Only, as it contains 
several things which have been got by the theatre 
management (such as Athalie, the piano scores of Lohen- 
grin, Schubert's Symphony, etc.), you will allow me to 
leave it a few days longer, so that I may get back the 
sum which is due to me, — and which, till the present 
time, I was not aware of having been placed to my 
account, thinking indeed that these various works for 
which I had written for the use of the theatre had 
long ago been paid for by the management. — 

I beg that you will kindly excuse this confusion, of 
which I am only guilty quite unawares. 

With regard to the publication of the Pater Nosier 
and of the Ave Maria, please do it entirely to your own 

* Autograph in the possession of M. J. Crepieux-Jamin at Rouen. 


mind, and I have no other wish in the matter but that 
the Pater should not be separated from the Ave, on 
account of the former being so small a work ; but 
whether you publish these two pieces with the Mass, 
or whether they appear separately (the two being in 
any case kept together), either of these arrangements 
will suit me equally well. For more convenience I 
have had them bound in one, as having been written 
at the same time and as belonging to the same style. — 
Berlioz has just written me word that he will probably 
arrive here two or three days sooner — and the proprie- 
tors of our repertoire have fixed the ijth November 
(instead of the 1 8th) for the first performance of the 
revival of Cellini. Immediately after he is gone I will 
put in order the Catalogue that you are kindly bringing 
out, and which I should be glad to be able to distribute 
about before the end of the winter. You shall have 
the manuscript before Christmas. — 

As Mr. Weyden has been a friend of mine for 
several years I may be permitted to recommend him 
to you, and have pleasure in hoping that your relations 
with him, on occasion of the translation of the Chopin 
volume, will be of an easy and agreeable nature. 1 

Pray accept once more, my dear Mr. Hartel, my 
best thanks, together with every assurance of the 
sincere affection of 

Yours most truly, 

F. Liszt. 

November 10th, 1852. 

1 The German translation of the work was not done until it 
appeared, by La Mara, in 1880, after the publication of a second 


90. To Professor Julius Stern in Berlin. 1 

November 2\th, 1852. 

My dear Mr. Stern, 

I hope you will excuse my delay in replying to 
your friendly lines, for which I thank you very affec- 
tionately. Mr. Joachim was absent when they reached 
me, and all this last week has been extremely filled 
up for Weymar (and for me in particular) by the 
rehearsals and performance of Berlioz's works. Happily 
our efforts have been rewarded by a success most 
unanimous and of the best kind. Berlioz was very 
well satisfied with his stay at Weymar, and I, for my 
part, felt a real pleasure in being associated with that 
which he experienced in the reception accorded to him 
by the Court, our artists, and the public. As this 
week has, according to my idea, a real importance 
as regards Art, allow me, my dear Mr. Stern, to 
send you, contrary to my usual custom, the little 
resume that the Weymar Gazette has made of the 
affair, which will put you very exactly an courant of 
what took place. You will oblige me by letting 
Schlesinger see it also, and he will perhaps do me 
the pleasure of letting the Berlin public have it through 
his paper (The Echo). 

I did not fail to conform to the wish expressed in 
your last letter, immediately that Joachim returned to 
Weymar, and I urged him much to accept the proposi- 

1 1S20-83; founder of the Stern Vocal Union (which he con- 
ducted from 1847-74), and of the Stern Conservatorium (1850), which 
he directed, firstly with Marx and Kullak, and since 1S57 alone. 



tion you have made him to take part in the concert of 
the 13th of December. You know what high esteem I 
profess for Joachim's talent, and when you have heard 
him I am certain you will find that my praises of him 
latterly are by no means exaggerated. He is an artist 
out of the common, and one who may legitimately 
aspire to a glorious reputation. 

Moreover he has a thoroughly loyal nature, a 
distinguished mind, and a character endowed with a 
singular charm in its rectitude and earnestness. 

The question of fee being somewhat embarrassing 
for him to enter into with you, I have taken upon 
myself to speak to you about it without any long 
comment, and to mention to you the sum of twenty 
to twenty-five louis d'or as what seems to me fair. If 
Joachim had already been in Berlin, or if his stay 
there could take place at the same time with some other 
pecuniary advantage, I feel sure that he would take a 
pleasure in offering you his co-operation for nothing ; 
but in the position he is in now, not intending at 
present to give concerts in Berlin, and not having as 
yet any direct relations with you, I think you will 
appreciate the motives which lead me to fix this sum 
with you. . . . 

If, as I hope, you do not consider it out of propor- 
tion, please simply to be so good as to write a few 
lines to Joachim direct, to tell him what day he ought 
to be in Berlin for the rehearsal of your concert, so 
that he may ask a little beforehand for his holiday 
from here. 

Will you also please give my best regards to Th. 
Kullak ? I have had the opportunity of talking rather 


fully about him these last days with two of his pupils, 
Princesses Anne and Louise (of Prussia), and also with 
their mother, Princess Charles. Mr. Marx (to whom I 
beg you to remember me kindly, until I write more 
fully to him about the performance of his Moses) will 
shortly receive a letter from Mr. Montag, whom I have 
begged to bring with him the arrangements relating to 
the song parts, which Mr. Marx will be so kind as to 
lend us. Probably this oratorio can be given here 
towards the end of next January or the middle of next 
February, and as soon as the rehearsals are sufficiently 
advanced I shall write to Marx to give him positive 
tidings and to invite him to pay us a short visit at 

A thousand frank and cordial regards from 

Yours ever, 

F. Liszt. 

You probably already know that Joachim is leaving 
Weymar to settle in Hanover at the beginning of next 


I am doubly in your debt, my dear Lenz (you 
will allow me, will you not, to follow your example 
by dropping the Mr. ?), firstly for your book, 2 so 
thoroughly imbued with that sincere and earnest passion 
for the Beautiful without which one can never penetrate 
to the heart of works of genius ; and, secondly, for your 

1 A well-known writer on music and especially on Beethoven ; 
Imperial Russian Councillor of State (1809-83). 

- "Beethoven and his Three Styles" (St. Petersburg, 1852). 


friendly letter, which reached me shortly after I had 
got your book, the notice of which had very much 
excited my curiosity. That I have put off replying 
to you till now is not merely on account of my 
numerous occupations, which usually preclude my 
having the pleasure of correspondence, but chiefly on 
account of you and your remarkable work, which I 
wanted to read at leisure, in order to get from it the 
whole substance of its contents. You cannot find it 
amiss that it has given me much to reflect upon, and 
you will easily understand that I shall have much 
to say to you on this subject — so much that, to explain 
all my thoughts, I should have to make another book 
to match yours — or, better still, resume our lessons of 
twenty years ago, when the master learned so much 
from the pupil, — discuss pieces in hand, the meaning, 
value, import, of a large number of ideas, phrases, 
episodes, rhythms, harmonic progressions, developments, 
artifices; — I should have to have a good long talk 
with you, in fact, about minims and crotchets, quavers 
and semiquavers, — not forgetting the rests which, if 
you please, are by no means a trifling chapter when 
one professes to go in seriously for music, and for 
Beethoven in particular. 

The friendly remembrance that you have kept of 
our talks, under the name of lessons, of the Rue 
Montholon, is very dear to me, and the flattering testi- 
mony your book gives to those past hours encourages 
me to invite you to continue them at Weymar, where 
it would be at once so pleasant and so interesting to 
see you for some weeks or months, ad libitum, so that 
we might mutually edify ourselves with Beethoven. 


Just as we did twenty years ago, we shall agree all 
at once, I am certain, in the generality of cases ; and, 
more than we were then, shall we each of us be in a 
position to make further steps forward in the exoteric 
region of Art. — For the present allow me, at the risk 
of often repeating myself hereafter, to compliment you 
most sincerely on your volume, which will be a chosen 
book and a work of predilection for people of taste, 
and particularly for those who feel and understand 
music. Artists and amateurs, professors and pupils, 
critics and virtuosi, composers and theorists — all will 
have something to gain from it, and a part to take 
in this feast of attractive instruction that you have 
prepared for them. What ingenious traits, what living 
touches, what well-dealt blows, what new and judiciously 
adapted imagery should I not have to quote, were I 
to enter in detail into your pages, so different from 
what one usually reads on similar subjects ! In your 
arguments, and in the intrinsic and extrinsic proofs you 
adduce, what weight — without heaviness, what solidity 
— without stiffness, of strong and wholesome criticism 
—without pedantry ! Ideas are plentiful in this by 
turns incisive, brilliant, reflected, and spontaneous style, 
in which learning comes in to enhance and steady the 
flow of a lively and luxuriant imagination. To all the 
refinement and subtle divination common to Slavic 
genius, you ally the patient research and learned 
scruples which characterise the German explorer. You 
assume alternately the gait of the mole and of the 
eagle — and everything you do succeeds wonderfully, 
because amid your subterranean manoeuvres and your 
airy flights you constantly preserve, as your own 


inalienable property, so much wit and knowledge, good 
sense and free fanc}^. If you had asked me to find 
a motto for your book I should have proposed this, 

" Inciter et initier," 

as best summing up, according to my ideas, the aim 
that you fulfil by your twofold talent of distinguished 
writer and musician ex professo. It is really curious to 
observe how the well-known saying, u It is from the 
north that light comes to us to-day," has been verified 
lately with regard to musical literature. After Mr. 
Oulibicheff had endowed us with a Mozart, here come 
you with a Beethoven. Without attempting to com- 
pare two works which are in so many respects as 
different and separate as the two heroes chosen by 
their respective historiographers, it is nevertheless 
natural that your name should be frequently associated 
with that of Mr. Oulibicheff— for each is an honour to 
Art and to his country. This circumstance, however, 
does not do away with your right to lecture Mr. 
Oulibicheff very wittily, and with a thorough know- 
ledge of the subject, for having made of Mozart a sort 
of Dalai-Lama* beyond which there is nothing. In 
all this polemical part (pp. 26, 27, etc.), as in many 
other cases, I am entirely of your opinion, with all 
due justice to the talents and merits of your compatriot. 
From a reading of the two works, Mozart and 
Beethoven, it is evident that, if the studies, predilec- 
tions, and habits of mind of Mr. Oulibicheff have per- 
fectly predisposed him to accomplish an excellent work 

* The head of the temporal and spiritual power in Thibet. (Trans- 
lator's note.) 


in its entirety, yours, my dear Lenz, have led you to a 
sort of intimacy, the familiarity of which nourished a sort 
of religious exaltation, with the genius of Beethoven. 
Mr. Oulibicheff in his method proceeds more as pro- 
prietor and professor ; you more as poet and lawyer. 
But, whatever may be said about this or that hiatus 
in your work, the plan of which has confined you 
disadvantageously to the analysis of the piano sonatas, 
and however much people may think themselves justified 
in caviliing at you about the distribution of your 
materials, the chief merit, which none could refuse you 
without injustice, is that you have really understood 
Beethoven, and have succeeded in making your imagi- 
nation adequate to his by your intuitive penetration 
into the secrets of his genius. 

For us musicians, Beethoven's work is like the pillar 
of cloud and fire which guided the Israelites through 
the desert — a pillar of cloud to guide us by day, a 
pillar of fire to guide us by night, " so that we may 
progress both day and night." His obscurity and his 
light trace for us equally the path we have to follow ; 
they are each of them a perpetual commandment, an 
infallible revelation. Were it my place to categorise 
the different periods of the great master's thoughts, as 
manifested in his Sonatas, Symphonies, and Quartets, 
I should certainly not fix the division into three styles, 
which is now pretty generally adopted and which you 
have followed ; but, simply recording the questions 
which have been raised hitherto, I should frankly weigh 
the great question which is the axis of criticism and 
of musical sestheticism at the point to which Beethoven 
has led us — namely, in how far is traditional or recog- 


nised form a necessary determinant for the organism 
of thought ? — 

The solution of this question, evolved from the works 
of Beethoven himself, would lead me to divide this 
work, not into three styles or periods,— the words style 
and period being here only corollary subordinate terms, 
of a vague and equivocal meaning, — but quite logically 
into two categories : the first, that in which traditional 
and recognised form contains and governs the thought 
of the master ; and the second, that in which the 
thought stretches, breaks, recreates, and fashions the 
form and style according to its needs and inspirations. 
Doubtless in proceeding thus we arrive in a direct line 
at those incessant problems of authority and liberty. 
But why should they alarm us ? In the region of 
liberal arts they do not, happily, bring in any of the 
dangers and disasters which their oscillations occasion 
in the political and social world ; for, in the domain of 
the Beautiful, Genius alone is the authority, and hence, 
Dualism disappearing, the notions of authority and 
liberty are brought back to their original identity. — 
Manzoni, in defining genius as "a stronger imprint of 
Divinity," has eloquently expressed this very truth. — 

This is indeed a long letter, my dear Lenz, and as 
yet I am only at the preliminaries. Let us then pass 
on to the Deluge, — and come and see me at Weymar, 
where we can chat as long and fully as we like of these 
things in the shade of our fine park. If a thrush 
chances to come and sing I shall take advantage of the 
circumstance to make, en passant, some groundless 
quarrels with you on some inappropriate terms which 
one meets with here and there in your book, — as, for 


example, the employment of the word scale (ut, fa, la, 
etc.) instead of arpeggio chord) or, again, on your 
inexcusable want of gallantry which leads you mali- 
ciously to bracket the title of " Mamselle " (!) on to 
such and such a Diva, a proceeding which will draw 
down upon you the wrath of these divinities and of 
their numerous admirers. 

But I can assure you beforehand that there are far 
more nightingales than thrushes in our park ; and, 
similarly, in your book the greater number of pages, 
judiciously thought out and brilliantly written, carry 
the day so well in worth and valour over any thinly 
scattered inattentions or negligences, that I join with 
my whole heart in the concert of praise to which you 
have a right. 

Pray accept, my dear Lenz, the most sincere expres- 
sions of feeling and best thanks of 

Your very affectionate and obliged 

F. Liszt. 

Weymar, December 2nd, 1852. 

As Madame Bettina d'Arnim has been passing some 
weeks at Weymar, I let her know about your book. 
Feeling sure that the good impression it has made on 
her would be a pleasure to you to hear, I begged her 
to confirm it by a few lines, which I enclose herewith. — 

92. To Robert Radecke in Leipzig.* 

Best thanks, dear Radecke, for your letter and 
the approved good intention. 

* Printed in the Nene Berliner Musik-Zcitiing, November 20th, 
1890. — The addressee, afterwards Conductor of the Royal Opera, and 


The Faust score will be at your service with great 
pleasure as soon as I have got it back from Berlioz. 
It is probable that the copy which Berlioz will see 
about for me in Paris will be ready by Christmas, so 
that I shall be able to send it you soon after New 

In the course of the winter I intend also to give 
a performance of the little oratorio La Fuite en 
Egyptei attributed to the imaginary Maitre de Chapelle 
Pierre Ducre. This graceful and interesting work 
should meet with approbation in Leipzig, and offers no 
difficulty either for voice or orchestra. If you keep the 
secret, and let your Gesangverein [Vocal Union] study 
it under the name of Pierre Ducre, a composer of the 
sixteenth century, I am convinced that it will not fail 
to make an effect. 1 Joachim goes the day after to- 
morrow to Berlin ; Cossmann is in Paris; and Nabich- 
is performing in London, Liverpool, and Manchester. 
None the less we are giving Tannhduser next Sunday 
(12th) (with subscriptions suspended!), and for this 

present Director of the Royal Academical Institute for Church Music 
in Berlin, was formerly Vice-director of the Leipzig " Singacademie " 
with Ferdinand David, and, intoxicated with the first performance of 
Berlioz's Faust at Weimar, he had determined to give such another 
in the Vocal Union of which he was Co-director. With this object 
he begged Liszt for the score. But the plan was not carried out, as 
Radecke exchanged his post at New Year, 1853, for that of a Music 
Director at the Leipzig Town Theatre. 

1 Liszt's playful suggestion about the Flight into Egypt was based 
upon the fact that Berlioz, on its first performance, had mystified 
the Paris public and brought forward the work under the feigned 
name of Pierre Ducrc, the organist of the Sainte Chapelle in Paris in 
the year 1 679. 

2 The first trombone player of the Weimar orchestra, and a most 
admirable performer on his instrument. 


occasion the entire Finale of the second act and the 
new ending of the third will be studied. 

Now farewell, and be active and cheerful, is the wish 
of yours most sincerely, 

F. Liszt. 

December gt/i, 1S52. 

93. To Bernhard Cossmann. 

[Weimar, December, 1852. 1 ] 
Thanks, dear friend, for your kind few lines, 
which have given me sincere pleasure. Joachim is not 
yet back from Berlin, and Beck' 2 has again got his old 
attack of the throat, and I fear rather seriously, from 
which these six years of cures, it appears, have not 
succeeded in curing him radically. In consequence of 
this dearth of tenors, the performances of Wagner's and 
Berlioz's operas are going to be put off till February, 
when I hope that Tichatschek will be able to come 
from Dresden and sing Tannhauser, Lohengrin, and the 
Flying Dutchman. 

As for Cellini? we shall unfortunately have to wait 
until Dr. Lieber, the new tenor engaged for next 
season, at present at the Cologne theatre, has learnt 
the part. I hear Lieber's voice highly spoken of, and 
it seems that he possesses also a dose of intelligence 
sufficient to understand how he ought to behave here. — 

In the matter of news I have one small item to give 
you — namely, that on your return your salary will be 

1 The date and ending of the letter are wanting, but from its 
contents it may be ascribed to this date. 

2 The chief tenor (hero-tenor) at the Court Opera. 

3 Berlioz's opera. 


raised fifty crowns, to make the round sum of four 
hundred. — Laub 1 will arrive very shortly, and accepts 
the propositions which have been made to him. He 
will not be . . . 

94. To Wilhelm Fischer, Chorus Director in 

Dear Sir, 

By to-day's post I have sent you a minutely 
corrected copy of the score of the Flying Dutchman. 
As this copy was my own property (Wagner had left it 
for me after his stay here in 1849) I could not suppose 
that Uhlig could expect it back from me as a theatre 
score. The last letter from Wagner to me has made 
the matter clear, and I place this score with pleasure 
at his further disposal. I have replied to Wagner 
direct and fully ; he is therefore aware that I have sent 
you my copy. 2 

Allow me to beg you kindly to make my excuses to 
Herr Heine 3 that I do not answer his letter just now. 
His indulgent opinion of our Lohengrin performance 
is very flattering to me ; I hope that by degrees we 
shall deserve still better the praise which comes to us 

' Ferdinand Lanb, a noteworthy violinist, was engaged for the 
1st of January, 1853, as Joachim's successor as Concertmeister at 

* Autograph in the possession of Herr Otto Lessmann at Charlotten- 
burg. — The addressee was an intimate friend of Wagner's ("fetters 
to Uhlig, Fischer, and Heine" — Leipzig, Breitkopf and Hartel, 1889). 

2 For fuller particulars about this see the " Wagner-Liszt Corre- 
spondence," vol. i., pp. 207-9. 

3 Ferdinand Heine, Court actor and costumier, famous through 
Wagner's letters to him. 


from many sides : meanwhile, as the occasion of his 
writing was just the matter of the Hollander score, and 
as this is now quite satisfactorily settled, it does not 
require any further writing. 

With best regards, yours truly, 

F. Liszt. 

Weymar, January 13th, 1853. 

Is Tichatschek coming to our Lohengrin performance 
in February ? Please beg him to try to do so. On 
Weymar's side nothing will be neglected, and it will 
be a real joy to us both. 

95. To Edmund Singer. 1 

Dear Sir, 

I thank you much for your friendly letter, and 
commission Herr Gleichauf (in whom you will recognise 
an admirable viola virtuoso) to persuade you not to 
retract your promised visit to me at Weymar. It 
would be very pleasant to me to be able to keep you 
here a longer time, yet I doubt whether you would be 
satisfied with such a modest post as our administrative 
circumstances warrant. When we have an opportunity 
we will talk further of this ; meanwhile it will be a 
pleasure to me to see and hear you again. Laub's 
acquaintance will also interest you ; he has just been 
playing some pieces with a really extraordinary vir- 
tuosity and bravura, so that we have all become quite 
warm about it. 

Come, then, as soon as you have a couple of spare 

1 Formerly Concertmeister at Weimar ; at present Court Concert- 
meister and Professor at the Stuttsrart Conservatorium. 


days, and be assured beforehand of the most friendly 

With my very best regards, 

Yours truly, 

F. Liszt. 

Saturday, January 15//?, 1S53. 

96. To Frau Dr. Lidy Steche in Leipzig.* 

My dear Madame, 

I have the pleasure of answering your inquiries 
in regard to the performances of the Wagner operas 
with the following dates : — 

For next Wednesday, February i6th f the birthday 
of H.R.H. the Grand Duchess, the first performance of 
the Flying Dutchman is fixed. (N.B. — For that evening 
all the places are already taken, and, as a great many 
strangers are coming, it will be difficult to find suitable 
rooms in Weymar.) The following Sunday, February 
20th, the Flying Dutchman will be repeated ; and on 
the 27th (Sunday) Tannhauser is promised, and on 
March $th (Saturday) Lohengrin. Between these two 
performances of February 27th and March 5th the third 
performance of the Flying Dutchman will probably take 
place, of which I can give you more positive information 
at the end of this week. The Wagner week proper 

* The addressee sang for two winters in the Gewandhaus concerts 
(as Frl. Angermann). After her marriage she started a Vocal Union, 
in the forties, with which, in December 1853, she gave so excellent 
a pianoforte performance of Lohengrin at her own house, and after- 
wards at the Minerva "lodge," that Hoplit, in his account of stage 
performances (Neue Zeitschrift fur Mnsik), spoke of the Steche under- 
taking as a " model performance." This was before the performance 
of Lohengrin at the Leipzig theatre in January 1854. 


begins therefore with February 27th and closes with 
March 5th, and if it were possible to you to devote 
a whole week to these three glorious works of art 
I should advise you to get here by the 27th,— or, 
better still for you (as you are already quite familiar 
with Tannhauser), to come in time for the third per- 
formance of the Flying Dutchman, the date of which 
is still somewhat uncertain, but which will probably be 
fixed for the 2nd or 3rd March. Immediately after the 
first performance we shall get quite clear about it, and 
I will not fail to let you know officially the result of 
the Theatre Conference here (in which I am not 

Accept, my dear Madame, the assurance of the high 
esteem of 

Yours most truly, 

F. Liszt. 

Weymar, February 14th, 1853. 

97. To Gustav Schmidt, Capellmeister at 

Dear Friend, 

Berlioz's two symphonies, Romeo and Juliet and 
Faust, have been twice given here in the course of this 
winter with the utmost success. Berlioz was so good 
as to lend me the score and parts,— but with the 
express condition that they should not go out of my 
hands. When, at the request of the Leipzig Academy 
of Singing [Singacademie], I asked him some weeks 

* Autograph (without address) in the possession of M. Alfred 
Bovet at Valentigney.— The contents show to whom the letter was 


ago whether he would not allow me to place Faust at 
the disposal of the Leipzig Institute for a proposed 
performance, he replied to me as follows : — 

" Considering the deplorable performances of which 
my works have often been the victims both in Germany 
and elsewhere, I have resolved never to lend them in 
manuscript. Moreover there are enough of my works 
printed in score and in separate parts (the three Sym- 
phonies, several Overtures, the 5th May, the Requiem, 
etc.) to make it unnecessary to seek for others. If I 
made an exception for you," % etc. . . . 

Although I was perfectly certain that the Leipzig 
performance would be a very satisfactory one, as many 
of my friends took a lively interest in it, and although 
I have not the least doubt that you would be anxious 
to give Faust its full value in Frankfort, yet you see 
from the above lines of Berlioz that I, to my regret, 
dare not risk any further application to him in this 
matter. Faust, moreover, will appear in score this 
year in Paris, and I sent Berlioz his manuscript back a 
short time ago. 

Should you be disposed to perform something or 
other of Berlioz's in Frankfort, I can recommend you, 
first of all, most warmly : — 

The two Overtures to Cellini and the Carnaval Romain ; 

Two numbers out of the Symphony Romeo and Juliet 
— the feast at Capulet's house and the Queen Mab 
(Scherzo) ; 

And two Marches from the Harold Symphony and 
the Symphonic Fantastique — the March of the Pilgrims 

* "Pour toi." Showing that Liszt and Berlioz employed the 
" tutoyer " towards one another. 


and the Marchc de Supplice [March on the Way to 

But it will be necessary for you to have several 
rehearsals — and indeed separate rehearsals for the quartet , 
and separate rehearsals for the wind instruments. 
The effect of Berlioz's works can only be uncommonly 
good when the performance of them is satisfactory. 
They are equally unsuited to the ordinary worthy 
theatre and concert maker, because they require a higher 
artistic standpoint from the musician's side. 

I looked through Kittl's x opera some years ago in a 
piano arrangement, and, between ourselves, I do not 
think the work will last. Kittl is a personal friend of 
mine, and I should have been glad to be able to give 
his work here ; but . . . nevertheless . . . etc., etc. 

Raff's King Alfred is a much more successful and 
important work ; and, without wishing to injure Kittl, 
there is in Raff quite other musical stuff and grist.* 

During your last stay in Weymar I spoke to you of 
Vesque's new opera Der lustige Rath. Various local 
circumstances have delayed the performance at Vienna 
of this really pretty, nicely worked out opera. The 
mise-en-scene does not require any special efforts ; the 
piece only requires a somewhat piquant and not 
unskilful soprano singer. Altogether the opera appears 
to me to be written in a charming style, not too super- 
ficially conservative, and to be one of the best among the 
new operas mezzo-car attere. In case you still have 
time and are not indisposed to give the opera in Frank- 

1 1809-68. Director of the Prague Conscrvatorium. 
* Steckt doch in Raff ein ganz anderer musikalischer Kern und 
Kerl : untranslatable play on words. 

VOL. I. I I 


fort, I can send you the score. You would do Vesque 
an essential service if you could give the opera soon, 
and would have friendly relations with him, for Vesque 
is a cultivated, intelligent, and firstrate man. 1 There 
are not too many such ! 

Yours in all friendship, 

F. Liszt. 

Weimar, February 2"]th, 1853. 

98. To Heinrich Brockhaus, Bookseller in 

My dear Mr. Brockhaus, 

In thanking you for your kind mention of the 
notice joined to my name in the Conversations Lexikon, 
I wish above all things not to go beyond the limits of 
most scrupulous delicacy, which in these sorts of things 
have always appeared to me all the more desirable to 
maintain because they are so very often passed. Con- 
sequently I will only allow myself to point out three 
misstatements of fact in the article about myself : firstly, 
my supposed title of ex-St. Simonien ; secondly, my 
supposed journey to America ; thirdly, my diploma of 
the University of Konigsberg, which my biographer 
arbitrarily changes into a diploma of Doctor of Music, 
which was not the one given to me. — 

I have never had the honour of belonging to the 
association, or, to put it better, to the religious and 

1 Vesque von Puttlingen (pseudonym, Hoven), 1803-83, Coun- 
cillor of the Austrian Foreign Ministry, composer of songs and 

* Published in a German translation : La Mara, " Letters of Musi- 
cians during Five Centuries,'' vol. ii., 1887. 


political family of St. Simonisme. Notwithstanding 
my personal sympathy with this or that member of it, 
my zeal has been but little beyond that which Heine, 
Borne, and twenty others whose names are in the 
Conversations Lexikon showed at the same period, and 
they limited themselves to following pretty often the 
eloquent preachings of the Salle Taitbout. Among 
my numerous tailors' bills, I can certify that there is 
not one to be found of a bleu-barbot coat * ; and, as I 
have mentioned Heine, I ought to add that my fervour 
was far short of his, for I never thought of wishing to 
" Commune through space with the Child-like Father" by 
correspondence or dedication, as he has done ! — 

Further, I can also assure you that my practical 
course of the geography of Europe has not extended 
beyond it, and that the four or five other parts of the 
globe are entirely unknown to me. And when you 
come to see me at Weymar I can show you, amongst 
other diplomas, that of the University of Konigsberg, 
in virtue of which I have the honour to belong, excep- 
tionally, to the class of Doctors in Philosophy, an honour 
for which I have always been peculiarly grateful to this 
illustrious University. 

As to the summary judgment passed upon my person 
and my works in this article, you will easily understand 
that I only accept it as transitory and with due reserve, 
much obliged though I am besides to the author for his 
kind intentions. After having attained, according to 
my biographer, the first aim of my youth, — that of 
being called the Paganini of the Piano, — it seems to me 
it is natural that I should seriously have the ambition 

1 The dress of the St. Simonists. 


of bearing my own name, and that I should count 
somewhat on the results of a desire and of persevering 
work, so far as to hope that in one of the later editions 
of the Conversations Lcxikon I may have a place more 
in accordance with my aims. 1 

Accept, my dear Mr. Brockhaus, the expression of 
my most sincere regard, and believe me 

Yours very truly, 

F. Liszt. 

Weymar, March 22nd, 1853. 

99. To Dr. Franz Brendel in Leipzig.* 

Dear Friend, 

A little trip to Gotha, where the Duke had 
invited me to be present at the performance of his 
opera Casilda the day before yesterday, must bear the 
blame of my delay in writing to you. After duly 
thinking over and considering your letter, I must tell 
you first and foremost my exact opinion with regard 
to the immediate appearance of the proposed paper. 
In my opinion at least two or three months are requisite 
to establish the necessary relations with the chief co- 

1 The article in question, which was published at a time when 
Liszt's greater works had partly not yet been written, and partly were 
not yet known in the wider circles, speaks of poverty of invention, 
and considers his compositions rather those of a virtuoso than of 
imaginative significance. 

* Autograph of the letter to Brendel in the possession of Frau Dr. 
Riedel in Leipzig. — Brendel (born 1811, died November 25th, 1868, in 
Leipzig) rendered great services to the New German {i.e., the Wagner- 
Liszt) musical tendencies, as a writer on music (Geschichte der Musik, 
History of Music), and as editor of the Nene Zeitschrift fur Musik 
(founded by R. Schumann). He also, together with Liszt, originated 
the " Allgemeine Deutsche Musikverein " (the " German Universal 
Musical Union "), and was its president up to his death. 


operators, and to give due weight to the whole under- 
taking. Without complete agreement as to means and 
aims we should compromise rather than help the 
matter. We must have the positive agreement and 
assurance of Semper, Stahr, Hettner, Hauenschild, and 
others (among whom Vischer of Tubingen must be 
sure not to be forgotten), before the first number 
appears. We have to struggle for a far higher and 
more difficult end than, for instance, the Unterhaltungen 
am hduslichen Herd* or the Fliegende Blatter fur 
Musik.\ The most important step for us is the very 
first, at the house door ; and if we do not weigh this 
step with due reflection we shall run a great risk of 
winning only imaginary future subscribers for the Art 
Work of the Future, and of seeing our best wishes for 
its feasibility shipwrecked. 

W r hether also the title Kunstwerk der Zukunft\ 
should be employed, or what other definition should be 
the axis of our united efforts in the opening number, 
I will put on one side for the present. The full dis- 
cussion of this and other things I will keep for your 
next visit to Weymar. Raff's opera is announced for 
this day fortnight (Sunday, April 17th). If it is agree- 
able to you to come here sooner, you will be most 
welcome at any moment. This time and every time 
that you come to Weymar, I beg you to stay with me, 
both for your own convenience and mine. 

Forster's exact address I will send you very soon, 
although I conclude that letters addressed Herr Hofrath 

* " Entertainments at Home." 
f " Fly-leaves for Music." 
t " Art Work of the Future." 


Ernst Forster would be safely delivered by the post 
office. Stahr is the best person to give you information 
about Herr von Hauenschild (Max Waldau — not Count, 
as far as I know), and Hettner is a Professor in Jena. 

Further, it is my opinion that you had better not 
send your communications to these gentlemen until we 
have settled some of the chief points in this matter. 

I shall undertake a security of four hundred thalers 
on this proposed agreement between us, in return for 
a receipt from the management which you will give me. 
I cannot at present hold out the prospect of further 
support ; yet it is possible that I may succeed in 
getting three to five hundred thalers annually, under 
certain conditions, for which there is no personal ground 
whatever (and which I hinted to you in our last con- 
versation in Leipzig), for the pages of The Present 
and Future. 

Remember me kindly to your wife, and be assured 
of the entire willingness of 

Yours truly, 

F. Liszt. 

Weymar, April yd, 1853. 

100. To Dr. Franz Brendel. 

Dear Friend, 

Good advice is seldom cheap, and I must 
honestly confess that in my present very fluctuating 
circumstances I am not rich enough to help you 
efficaciously by lending you a helping hand, however 
much I might wish to do so. Stahr's refusal is very 
much to be regretted, for, in order to attain your end 
and to influence the world of literature, you positively 


require more literary men of great note to join you. 
Next to the money question the formation of the nucleus 
of management is the most important matter in this 
undertaking. However zealous and self-sacrificing you 
and Schlonbach 1 may be in devoting your talents and 
powers to the paper, yet I doubt whether you will be 
able to keep it going unless you get some further 
capable men of talent as co-operators. This brings 
us, however, again to the money question, which I un- 
fortunately am not in a position to solve. To be 
obliged to give it up after six months would be a far 
worse fate than not to begin it at all. Therefore, be- 
fore everything, the moral guarantee must be forthcoming 
for its continuance, and for the constantly increasing 
spread of the paper, and these depend principally on 
the guarantee which the first five or six co-operators 
warrant. You remark quite truly that, if Wagner would 
take an interest in the matter, it would be of the greatest 
help. Perhaps he might be persuaded to do so, and I 
will willingly start the subject to him. 

The title, size (as well as the limits of the paper, 
and cover), and fortnightly issue give me thorough 
satisfaction, and according to my opinion nothing 
more need be altered in these three particulars. A 
weekly issue has its advantages — nevertheless I have 
always thought that two papers per month are on the 
whole better than four. But whether it is possible and 
advisable to make the first start as early as July I much 
question. "Tout vient a point a qui sait attendre," 
says the French proverb. It certainly is important to 
seize the right moment, and that must be decided by 

1 Arnold Schlonbach, journalist, died long ago. 


you. Let me only beg you not to give too much weight 
to passing and local influences, and only to come for- 
ward when you can hold your ground with quiet, de- 
liberate courage. Retreat belongs to the enemy. For 
us it is " Gradatim vincimus." 

The matter of the security remains as promised. If 
you should not be ready by July, October would be 
just as favourable, if not more so — only, in Heaven's 
name, no backward step when once started ! — Some 
articles of provision and ammunition seem to me to be 
absolutely necessary before you begin. Two months 
are a short time to get them ready, and I scarcely think 
it will be possible for you to be ready for action by July. 
Have you written yet to Wagner ? You must not 
expect much from Hettner without Stahr. But, through 
Hinrichs or Franz, Hauenschild might perhaps be won 
over. I advise you to stick fast to Schwind. One of 
his last pictures, " Beethoven's Fancy," bought by the 
King of Greece, points to him above all others as the 
representative of painting in your paper. 

May I beg you also to send a few lines to Kurnberger 
to tell him that I have given you his manuscript? It 
would be discourteous if I were to leave him without 
any answer, and, as / cannot say anything further to 
him, we should save useless circumlocution if you 
would be so good as to correspond with him direct. 

Incidentally you would also save me another letter 
about nothing, if you would write to Lenz (on the 
subject of this conference). 

Whilst I am talking with you, Seriora Pepita Oliva 
is doing her favourite tricks at the theatre, which are 
more prized and rated higher than they deserve, so I 


am assured. " J'aime mieux y croire qu'y aller voir." * 
The brothers Wieniawski have also been here some 
days. The violinist is a virtuoso of importance,— that 
is to say, in the ordinary, but not quite correct, sense 
of this word; for Virtuoso comes from Virtu, and 
should neither be so falsified nor so misapplied. 
Yours very truly, 
* ., , „ F. Liszt. 

April 20th, 1853. 

101. To Louis Kohler. 
Dear Friend, 

You have again given me a real pleasure by 
your article on the Romanesca (in the last numbers of 
the Signale), for which I would gladly requite you. 
The best way to do this would be by a performance of 
Lohengrin) unfortunately there is very little prospect 
of that. Still it is not impossible that between the 
19th and 26th of this month there may be a perform- 
ance of this one work by royal command; and, as you 
are already so kindly disposed towards me, and have 
promised me to come to Weymar, do make yourself 
ready, and give me the great pleasure of your company 
for a few days— if possible, from the 19th to the 26th 
of this month. The marriage festivities of Princess 
Amalie of Sachs-Weymar and Prince Henry of the 
Netherlands, which will take place then, will be the 
occasion of a grand court concert on the 20th, and the 
performance of Marx's oratorio Moses on the 22nd 
or 24th, and probably a couple of other musical per- 
formances. Joachim is also coming at the same time, 
and there will be no dearth of entertainment for us. 

* I would rather take it for granted than go and see it. 


Once more best thanks — and a safe journey — and 
a revoir — which will be a great pleasure to your very 
affectionate and obliged 

F. Liszt. 

Weymar, May 6th, 1S53. 

102. To Louis Kohler. 

Dear Friend, 

A safe journey — and " auf Wiedersehen " next 
year in Weymar at a chance performance of Lohengrin ! 
There is now no probability of a Wagner performance 
here for a week or ten days, and probably the Flying 
Dutchman will then be chosen. 

You ought to keep all my scribblings which appear 
henceforth. Meanwhile I send you only the score of 
the Weber Polonaise, in which the w T orking-out section 
(pages 19, 20, 21) will perhaps amuse you. 

I am writing to Wagner to-day that he should him- 
self offer you a copy of the Nibelungcn. You ought 
to receive it soon. 

You will find a little packet of Plantaja cigars in 
your cloak. May it help you to recall your Weymar 
visit, and think with warm remembrance of 

Yours in all friendship, 

F. Liszt. 

Weymar, May 24th, 1853. 

If you should stay some days in Berlin, ask Dorn 
why he has not yet sent me his score of the Nibelungcn ? 
Perhaps he has not had my letter in reply to his in 
which he mentioned that the score was coming. 

When you have half an hour to spare, ask my 


pupil Winterberger l (through Schlesinger) to play you 
my Prophete Fugue on the organ. I consider this 
opus as one of my least bad productions — if you have 
not got a copy of it I will send you one on the first 
opportunity through Hartel. 

Your box and cloak are just sent off " Station 

103. To Louis Kohler. 

" Kiraschio ! Plimaschio ! " 2 Dear friend ! Your 
work 3 has given me a refreshing draught to quaff, — 
not exactly a theoretical " cure " water, such as the 
people promenading past my window are constrained 
to take, and which, thank Heaven, I neither require 
nor take ; but a finely seasoned, delightfully com- 
forting May drink, — and I thank you warmly for the 
lively, pleasant hours I have passed with you in read- 
ing and singing your work. The objections with 
which the Philistines and pedants will arm themselves 
against you don't interest me in the least. You have 
certainly brought forth a fresh and exciting little book, 
and that is a great service not easily attained ! — Be 
satisfied not to please the worse half of brave musicians, 
among which I might count myself, and write on 
cheerfully, regardless of shops and shopkeepers ! — 

1 Composer, piano and organ virtuoso ; born at Weimar 1834 ; 
was for a long time a Professor at the St. Petersburg Conservatorium ; 
since then lives at Leipzig. 

2 The refrain of a journeyman's song, given by L. Kohler in his 
work " The Melody of Speech," in which " The cry of the natural 
man gives vent to itself in unbridled pleasure.*' 

8 The same work, " The Melody of Speech " (Leipzig, J. J. Weber, 


Specially do I give you my best thanks for the " VVey- 
marische Zeilen" and the very friendly quotation of 
my earlier songs. Later on, when I bring out a couple 
more numbers, I must make a somewhat remodelled 
edition of these earlier songs. There must, in par- 
ticular, be some simplifications in the accompaniment. 
But that you have thought favourably and indulgently 
of these things, with a due regard to the inner impulse 
which brought them forth (in my " storm and stress " 
period), is very pleasant to me. The Lenau con- 
cluding song is charmingly composed — only publish 
some more like that, with or without comment ! 

I have just received a letter from Wagner for you, 
which he sends to me as he does not know your 
address. Take this opportunity of sending me your 
street and number ; for I always address to Piitzer and 
Heimann, which is too formal. At the beginning of 
July I enjoyed several IValhalla-days with Wagner, 
and I praise God for having created such a man. — Of 
my further summer projects I will only say that at the 
end of September I shall conduct the Musical Festival 
at Carlsruhe, and at the beginning of October shall 
return to Weymar (where I shall spend the winter). 

I have written to Haslinger and Spina to send you the 
" Hungarian Rhapsodies " and the " Soirees de Vienne " 
(songs after F. Schubert, in nine parts). The next 
time I pass through Leipzig I will tell Kistner that 
you must not fail to have a copy of the " Harmonies 
Poe'tiques et Religieuses." The previously mentioned 
pieces you will have without delay. — I have sent my 
Mass and Ave Maria to Marpurg by Raff. If you 
approve of these compositions I will gladly get a 


couple more copies in your honour. My Catalogue will 
not come out till next winter, as I have not yet had 
any time to revise it. 

Let me hear soon from you, dear friend, and keep 
ever in friendly remembrance 

Yours sincerely and with many thanks, 

F, Liszt. 

Carlsbad, August ist, 1853. 

Address to me always at Weymar. 

104. To Richard Pohl in Dresden." 

In various accounts that I have read of the 
Festival at Carlsruhe, there is one point on which 
people seem pretty much agreed — namely, the insuffi- 
ciency of my conducting. Without here examining 
what degree of foregone judgment there may be in this 
opinion, without even seeking to know how much it 
has been influenced by the simple fact of the choice of 
myself as conductor, apart from the towns of Carlsruhe, 
Darmstadt, and Mannheim, it certainly would not be 
for me to raise pretensions quite contrary to the asser- 
tion which it is sought to establish if this assertion were 
based on facts or on justice. But this is precisely what 
I cannot help contesting in a very positive manner. 

As a fact one cannot deny that the ensemble of the 
Carlsruhe programme was very remarkably performed, 

* Printed in Pohl's pamphlet "The Carlsruhe Musical Festival in 
October, 1853" (by Hoplit). Leipzig, Hinze, 1853. — The addressee, 
a writer on music (born 1826), one of the oldest and most faithful 
adherents of Liszt and Wagner, lived in Weimar after 1854, his wife 
Jeanne {nee Eyth) having a post there as a harp virtuosa : after 
Liszt's departure he was, as he still is, occupied as editor in Baden- 


that the proportion and sonority of the instruments, 
combined with a view to the locale chosen, were satis- 
factory and even excellent. This is rather naively 
acknowledged in the remark that it is really surprising 
that things should have gone so well " in spite of" the 
insufficiency of my conducting. I am far from wishing 
to deck myself in the peacock's feathers of the Carlsruhe, 
Mannheim, and Darmstadt orchestras, and am assuredly 
more disposed than any one to render full justice to 
the talents — some of them very distinguished — of the 
members of these three orchestras ; but, to come to 
the point, whatever may be said to the contrary, it is 
acknowledged, even by the testimony of my adversaries, 
that the execution was at times astonishing, and 
altogether better than there had been reason to expect, 
considering that I was conductor. 

This fact placed beyond discussion, it remains to be 
seen whether I am so completely a stranger there as 
they try to make out, and what reasons there can be 
for thus crying down a conductor when the execution 
was satisfactory, especially if, as is just, one bears in 
mind the novelty of the works on the programme for 
almost the entire audience. For, as every one knew at 
Carlsruhe, the Ninth Symphony, as well as the works 
of Wagner, Berlioz, Schumann, etc., were not well 
known by any one but myself, seeing that they had 
never been given before in these parts (with the 
exception of the Berlioz piece, which a portion only 
of the Carlsruhe orchestra had played under the 
direction of the composer). — 

Now as regards the question of right — to know 
whether in good conscience and with knowledge of 


the matter one can justly accuse me of being an insuffi- 
cient conductor, inexperienced, uncertain, etc. : without 
endeavouring to exculpate myself (for which I do not 
think there is any need amongst those who understand 
me), may I be permitted to make an observation bearing 
on the basis of the question ? 

The works for which I openly confess my admiration 
and predilection are for the most part amongst those 
which conductors more or less renowned (especially 
the so-called " tuchtigen Capellmeister " *) have honoured 
but little, or not at all, with their personal sympathies, 
so much so that it has rarely happened that they have 
performed them. These works, reckoning from those 
which are commonly described nowadays as belonging 
to Beethoven's last style (and which were, not long ago, 
with lack of reverence, explained by Beethoven's deaf- 
ness and mental derangement !)— these works, to my 
thinking, exact from executants and orchestras a 
progress which is being accomplished at this moment — 
but which is far from being realised in all places — in 
accentuation, in rhythm, in the manner of phrasing 
and declaiming certain passages, and of distributing 
light and shade — in a word, progress in the style of the 
execution itself. They establish, between the musicians 
of the desks and the musician chief who directs them, a 
link of a nature other than that which is cemented by 
an imperturbable beating of the time. In many cases 
even the rough, literal maintenance of the time and of 
each continuous bar | I, 2, 3, 4, | 1, 2, 3, 4, | clashes 
with the sense and expression. There, as elsewhere, 
the letter killeth the spirit, a thing to which I will never 

* Qualified conductors. 


subscribe, however specious in their hypocritical im- 
partiality may be the attacks to which I am exposed. 

For the works of Beethoven, Berlioz, Wagner, etc., 
I see less than elsewhere what advantage there could 
be (which by-the-bye I shall contest pretty knowingly 
elsewhere) in a conductor trying to go through his 
work like a sort of windmill, and to get into a great 
perspiration in order to give warmth to the others. 
Especially where it is a question of understanding 
and feeling, of impressing oneself with intelligence, of 
kindling hearts with a sort of communion of the 
beautiful, the grand, and the true in Art and Poetry, 
the sufficiency and the old routine of usual conductors 
no longer suffice, and are even contrary to the dignity 
and the sublime liberty of the art. Thus, with all due 
deference to my complaisant critics, I shall hold myself 
on every occasion ulterior to my " insufficiency " on 
principle and by conviction, for I will never accommo- 
date myself to the role of a " Profoss " * of time, for 
which my twenty-five years of experience, study, and 
sincere passion for Art would not at all fit me. 

Whatever esteem therefore I may profess for many 
of my colleagues, and however gladly I may recognise 
the good services they have rendered and continue to 
render to Art, I do not think myself on that account 
obliged to follow their example in every particular — 
neither in the choice of works to be performed, nor in 
the manner of conceiving and conducting them. 1 
think I have already said to you that the real task of a 
conductor, according to my opinion, consists in making 
himself ostensibly quasi-useless. We are pilots, and 
* Overseer or gaoler. 


not mechanics. Well, even if this idea should meet 
with still further opposition in detail, I could not 
change it, as I consider it just. For the Weymar 
orchestra its application has brought about excellent 
results, which have been commended by some of my 
very critics of to-day. I will therefore continue, with- 
out discouragement or false modesty, to serve Art in 
the best way that I understand it — which, I hope, will 
be the best. — 

Let us then accept the challenge which is thrown to 
us in the form of an extinguisher, without trouble or 
anxiety, and let us persevere, conscious of right — and 

of our future. _ T 

F. Liszt. 

Weymar, November $t/i, 1853. 

105. To Wilhelm Fischer, Chorus Director at 
Dear Sir and Friend, 

Your letter has given me real pleasure, and I 
send you my warmest thanks for your artistic resolve 
to bring Cellini to a hearing in Dresden. Berlioz has 
taken the score with him to Paris from Weymar, in 
order to make some alterations and simplifications in 
it. I wrote to him the day before yesterday, and 
expect the score with the pianoforte edition, which I 
will immediately send you to Dresden. Tichatschek is 
just made for the title-role, and will make a splendid 
effect with it ; the same with Mitterwurzer as Fiera- 

* Autograph in the possession of Herr Otto Lessmann, writer at 
Charlottenburg. (Printed in his Allgemeine Mustk-Zcitiing, 1887, 
No. 38.) — The addressee was the well-known friend of Wagner. 
(See " Wagner's Letters to Uhlig, Fischer, and Heine." — Grevel & Co.) 

VOL. I. 12 


mosca and Madame Krebs as Ascanio, a mezzo-soprano 
part. From your extremely effective choruses, with 
their thorough musicianly drilling, we may expect a 
force never yet attained in the great Carnival scene 
(Finale of the second act) ; and I am convinced that, 
when you have looked more closely into the score, you 
will be of my opinion, that Cellini, with the exception 
of the Wagner operas, — and they should never be put 
into comparison with one another — is the most im- 
portant, most original musical-dramatic work of Art 
which the last twenty years have to show. 

I must also beg for a little delay in sending you the 
score and the pianoforte edition, as it is necessary 
entirely to revise the German text and to have it 
written out again. I think this work will be ready in 
a few weeks, so you may expect the pianoforte edition 
at the beginning of February. At Easter Berlioz is 
coming to Dresden, to conduct a couple of concerts in 
the theatre there. It would be splendid if you should 
succeed in your endeavours to make Herr von Lutti- 
chau fix an early date for the Cellini performance, and 
if you could get Berlioz to conduct his own work when 
he is in Dresden. In any case I shall come to the first 
performance, and promise myself a very satisfactory 
and delightful result. 1 

Meanwhile, dear friend, accept my best thanks once 

more for this project, and for all that you will do to 

realise it successfully, and receive the assurance of the 

high esteem of , r , 

Yours very truly, ~ T 

J J} F. Liszt. 

Weymar, January ^th [1854]. 

1 Dresden did not hear Cellini till thirty-four years later. 


106. To M. Escudier, Music Publisher in Paris.* 

My dear Sir, 

My time has been so absorbed by the rehearsals 
of a new opera in five acts, Die Nibelungen, by Mr. 
Dorn, musical conductor in Berlin, the first perform- 
ance of which will take place to-morrow, and also by a 
heap of small and great local obligations which accu- 
mulate for me in particular at the beginning of winter, 
that I have never yet had a moment in which to send 
you my very cordial thanks for your biographical 
notice on occasion of the Alexandre Piano, which [i.e., 
the biographical notice] had just reached me. 1 I hope 
you will excuse this delay in consideration of the short 
time left me, and that you feel sure beforehand how 
kindly I take it of you for thus taking my part, in 
divers circumstances, for the honour of my name and 
of my reputation — a matter in which I will endeavour 
not to render your task too difficult. 

With regard to the Schubert opera of which you 
again spoke to me in your last letter, I have a pre- 
liminary and very important observation to make to 
you — namely, that the rights of the score of Alfonso 
and Estrclla, in three acts, were obtained some years 
ago by Messrs. Hartel of Leipzig. As this work has not 
hitherto been performed anywhere they have not been 
in a hurry to publish it, and it was only communicated 
to me (by a copy) in case of a performance at Weymar. 

* Autograph (without address) in the possession of Monsieur 
Etienne Charavay in Paris. — The contents show to whom it was 

1 A "giant grand piano : ' with three keyboards and pedals and 
registers, made according to Liszt's own directions. 


Therefore, before taking any other steps, it is indis- 
pensable that you should apply to Messrs. Hartel to 
obtain their authorisation, either for a performance, or 
for the right to make a foreign edition of this work, 
and to make conditions with that firm relative to the 
matter. I do not doubt that Messrs. Hartel will be 
most obliging in the matter ; but you cannot neglect 
this first step without serious ulterior disadvantages. 

HartePs consent once given, you must think of 
adapting to this charming music a libretto which is 
worthy of it, — and, if you are fortunate in doing this, 
success, and a popular and productive success, is 

Allow me to beg you once more to send me a copy 
of the ballet of Gluck's Don Juan and of the Dic- 
tionary of Music which you have just published, — I 
have already asked Belloni for them, but he is a little 
subject to distractions in these matters, — and accept, my 
dear sir, together with my best thanks, the assurance 

of my affectionate regard. 

F. Liszt. 

Weymar, January 2\st, 1854. 

107. To Monsieur Marie Escudier, Music Publisher 

in Paris.* 
My dear Sir, 

Mr. Franck 1 having written to me for a special 
introduction to you, I have great pleasure in fulfilling 
his request by writing these few lines to you. For 

* Autograph in the possession of M. Alfred Bovet at Valentigney. 

1 Cesar Aug. Franck, born at Liege in 1822, composer and professor 
at the Paris Conservatoire, teacher of Faure, Chabrie, and d'Indy, 
the chiei representatives of the new French school of music. 


many years past I have had a favourable opinion of 
Mr. Franck's talent in composition, through having 
heard his trios (very remarkable, as I think, and very 
superior to other works of the same kind published 

His oratorio Ruth also contains beautiful things, 
and bears the stamp of an elevated and well-sustained 
style. If the opera which he wants to have performed 
at the Lyric Theatre answers to these antecedents and 
to what I expect of Mr. Franck, the Lyric Theatre 
could only congratulate itself on its choice, and the 
best chance of success would be assured. Being un- 
able to judge of it at a distance, and the score of this 
opera being unknown to me, I confine myself simply 
to drawing your attention to the very real talent of 
Mr. Franck, at the same time recommending him affec- 
tionately to your kindness. 

Pray accept, my dear sir, the expression of my 
sincere regard. 

F. Liszt. 

Weymar, January 28th, 1854. 

108. To Dr. Franz Brendel. 
Dear Friend, 

I have lately been over-occupied, and in addition 
to that I have been working somewhat, so that I have 
never had a free half-hour for correspondence. 

I send you to-day the score and pianoforte edition 
of my " Kiinstler-Chor." By next autumn I hope that 
half a dozen other (longer) scores will be in print. 
u Ha, der Verruchte ! " * we can then say, as in 
Tannhciuser. Happily, however, no journey to Rome 

* "Ah, the wretch!" 


is necessary to obtain my absolution. We only wish 
to have done with so much outcry and tasteless chatter. 

I shall beg David to put off my Leipzig rehearsals 
for a couple of weeks, as I cannot well get away from 
here now, and must also have the parts written out 
afresh. If David does not arrange it otherwise I shall 
probably come in the latter half of March. — . 

Cornelius is telling you more fully, at the same 
time with this, what I have talked over with him. — 
Griepenkerl has been here a couple of days, and 
yesterday read his drama Ideal itnd Welt before our 
Grand Duke. The company was much the same as at 
Schlonbach's reading. — . 

About your book I am very curious, and beg that 
you will send it me immediately. With regard to the 
opportunity for the paper I can tell you something 
when I come to Leipzig. In the course of next 
summer a monthly paper will make its appearance 
here, out of which much might grow. This is between 
ourselves, for the public will learn about it later. 

Remember me most kindly to your wife, and remain 
good to 

Your very sincere and grateful friend, 

F. Liszt. 

Weymar, February 20tli, 1854. 

P.S. — If you see Count Tyskiewicz please repeat my 
invitation to him to come for a couple of days to 
Weymar. If he is free next Thursday, that would be 
a good day. We have a concert here at which the 
" Kunstler-Chor " and a new orchestral work of mine 
(Les Preludes), the Schumann Symphony (No. 4), and 
his Concerto for four horns will be given. 


109. To Louis Kohler. 

My very dear Friend, 

I come late — yet I hope you have not forgotten 
me. I am sending you, together with this, the score 
and pianoforte arrangement of my chorus " an die 
Kunstler" * and also those numbers of the Rhapsodies 
which have been brought out by Schlesinger. The 
Lohengrin score you have no doubt received two 
months ago from H artel, whom I begged to send it 
you direct — also the Harmonies from Kistner, and the 
last number of the Rhapsodies from Haslinger. At 
the end of the year you shall get some still greater 
guns from me, for I think that by that time several 
of my orchestral works (under the collective title of 
" Symphonische Dichtungen " |) will come out. Mean- 
while accept once more my best thanks for the manifold 
proofs of your well-wishing sympathy, which you have 
given me publicly and personally. You may rest 
assured that no stupid self-conceit is sticking in me, 
and that I mean faithfully and earnestly towards our 
Art, which in the end must be formed of our hearts' 
blood. — Whether one "worries" a bit more or a bit 
less, as you put it, is pretty much the same. Let us 
only spread our wings " with our faces firmly set" and 
all the cackle of goose-quills will not trouble us at all. 

That your article has been rudely and spitefully 
criticised need not trouble you. You presuppose your 
reader to have refinement and educated feeling, artistic 
acuteness, a fine perception, and a certain Atticism. 
These, my dear friend, are indeed rare things— and 

* " To the artists." f Symphonic Poems. 


only to be found in very homoeopathic doses among 
our Aristarchuses. Sheep and d[onkeys] have no 
taste for truffles. " Good hay, sweet hay, has not 
its equal in the world," as the artist-philosopher Zettel 
very truly says in the Midsummer N/ghfs Dream ! 
Moreover, dear friend, things didn't and don't go any 
better with other better fellows than ourselves. We 
need not make any fancies about it, but only go 
onward quietly, perseveringly, and consistently. 

Lohengrin will be given here on the Grand Duchess's 
next birthday, April 8th. Gotze is coming this time 
from Leipzig, and sings the part of the Knight of the 
Swan. I hope that in May Tichatschek will undertake 
the role ; he has already been studying the complete 
work for a long time past, and has had a splendid 
costume made for it. Perhaps you will be inclined to 
hear this glorious work here either in April or May. That 
would be very delightful of you, and I need not tell you 
how pleased I should be to see you among us again. — 

Raff is working hard at his Samson, and tells me 
that he will have finished it by Christmas. Cornelius, 
whom I think you do not know (a most charming, fine- 
feeling and distinguished nature), has likewise a dramatic 
work, poem and music, in readiness for next season. 
We gave a good performance of Gluck's Orpheus 
lately, and for the last performance of this season (end 
of June) I think we shall still give the Schubert opera 
Alfonso and Estrclla, if those same theatre influences 
which already made themselves prominent by the Indra 
performance when you were at Weymar do not decide 
against this work, so interesting and full of intrinsic 
natural charm ! — 


Farewell, dear friend, and send speedy tidings of 
yourself to 

Yours most sincerely, 

F. Liszt. 

Weymar, March 2nd, 1854. 

1 10. To Dr. Franz Brendel. 

Dear Friend, 

Herewith an article which I send you for your 
paper. Euryanthe, which I conduct here to-morrow, 
is the occasion of it. Still a more general question is 
aroused in it, which I am to a certain extent constrained 
" to agitate " from Weymar. 1 I flatter myself that our 
ideas will meet and harmonise in it. At first I had 
prefaced it by a couple of introductory lines, which I 
now erase. Will you be so good as to introduce 
me yourself in the Neue Zeitschrift by a few words ? 
You will be the best one to make up this little preface. 
My name can be put quite openly with its five letters, 
as I am perfectly ready to stand by my opinion. 

Tuesday morning I go to Gotha. The Duke's opera 
is to be given at the end of this month, or at latest 
on the 2nd April, and from the day after to-morrow 
till the first performance I shall be quartered at Gotha. 
In consequence of this I must unfortunately give up 
my excursion to Leipzig/or the moment, — but I hope that 
David will allow another rehearsal in the Gewandhaus 
in the course of April, after the Lohengrin performance 
here with Gotze (on April 7th and 8th), which I must 
of necessity conduct. The news, which it appears 
some papers have published, that I was thinking of 

1 "Gesammelte Schriften," vol. iii., I. 


arranging a concert in Leipzig, belongs to the generation 
of ducks [geese ?] who amuse themselves in swimming 
around my humble self. My visit to Leipzig has no 
other object than to make some of the musicians 
acquainted with one or two of my symphonic works. 
Should they be pleased with them, they might perhaps 
be given there next season. In any case, however, 
several of them will appear in score next autumn. 

My time is exceedingly limited, and I must see 
about a great many things to-day which do not put one 
in the mood for correspondence. 

Yours in friendship, 

F. Liszt. 

Saturday, March iSth [1854]. 

in. To Louis Kohler. 

[Weimar, April or May, 1854.] 

My very dear Friend, 

I am extremely glad that you liked my article 
on Earyanthe and theatre direction, and I thank you 
most truly for your warm and very encouraging letter. 
For many weeks past I have been imitating you (as 
you and others always set me a good example), and 
am publishing several views on Art-subjects and Art- 
works in the Weimar official paper. By degrees these 
articles will swell into a volume, which shall then 
contain the complete set. 

For the present I allow myself to send you my 
Sonata, which has just been published at Hartel's. 
You will soon receive another long piece, " Scherzo 
and March," and in the course of the summer my 
"Annees de Pelerinage, Suite de Compositions pour le 
Piano" will appear at Schott's; two years — Switzerland 


and Italy. With these pieces I shall have done for 
the present with the piano, in order to devote myself 
exclusively to orchestral compositions, and to attempt 
more in that domain which has for a long time become 
for me an inner necessity. Seven of the Symphonic 
Poems are perfectly ready and written out. I will 
soon send you the little prefaces which I am adding 
to them, in order to render the perception of them more 
plain. Meanwhile I merely give you the titles : — 

1. Ce qu'on entend sur la Montagne (after V. 

Hugo's poem in the " Feuilles d'Automne "). 

2. Tasso, Lamento e Trionfo. 

3. Les Preludes (after Lamartine's Meditation 

poetique " Les Preludes "). 

4. Orphee. 

5. Promethee. 

6. Mazeppa (after V. Hugo's Orientale "Mazeppa"). 

7. Festklange. 

8. Hero'ide funebre. 

9. Hungaria. 

By Christmas I intend to bring out the scores of all 
these— which would make about fifteen hundred plates 
in octavo size. 

The post affair in regard to your letter with the 
article on Raff's Fruhlingsboten is very unpleasant 
to me. Neither has come into my hands, or else 
I should assuredly have let you know much sooner. 
What has become of it cannot now be traced; a similar 
thing happened also with a manuscript sent to me from 
Dresden, which was never able to be found. Excuse 
me, dear friend, for the carelessness which you supposed 
I had shown, of which I am in this case not guilty, as 


Pohl has already written to you by my request — and 
continue to keep for me always your sympathetic 
friendship, with which I remain, in complete harmonious 

Yours most truly and gratefully, 

F. Liszt. 

112. To Dr. Franz Brendel. 
Dear Friend, 

Whilst you are trotting about in Leipzig aus 
Rand und Band* I have been obliged to keep my bed, 
owing to a slight indisposition. The reading of your 
article in theJahrbiicJicrn^ has given me a pleasant hour, 
and I thank you heartily for the value and significance 
which you accord to my influence and endeavour here, 
both in this article and in the topographic section of 
your book. As long as I remain here we will take 
care that Weimar does not get into a bad way. 

I hope to be quite on my legs again in a few days. 
My present indisposition is nothing but an overstrain 
and knock-up, which a couple of days' rest and some 
homoeopathic powder will easily set right. Probably 
we shall see one another in the early days of next 
week at Leipzig ; but don't let us speak of it before- 
hand, as I have already been three times prevented 
from making this little trip. 

The Orpheus article was sent to you yesterday. 
Perhaps it would still be possible to let it appear in 
the next number of the paper ; if not, then it can appear 
the following week. The order of succession which 

* Uncontrolledly ; a pun on the words Rand and Band (edge of the 
paper and volume), Brendel being editor of a paper, 
f Year-books. 


I gave you by letter appears to me the right one, and 
begins with the Orpheus. This article is moreover 
as good as new, for, as your paper allowed me more 
space, I profited by it to make the earlier articles twice 
as long. 1 

There are several points in your writing that we 
will soon talk over viva voce. I am still really very weak 
to-day, and merely wanted to write to thank you, and 
to tell you of my speedy advent in Leipzig (probably 
next Tuesday or Wednesday). 

Yours in friendship, 

F. Liszt. 

Wednesday, April 26th, 1854. 

Your commissions to Cornelius and letter to Cotta 
have been attended to. 

113. To Louis Kohler. 
Dear Friend, 

I am going once more to give you a pleasure. 
By to-day's post you will receive Richard Wagner's 
medallion. A friend of mine, Prince Eugene Sayn- 
Wittgenstein, modelled it last autumn in Paris, and 
I consider it the best likeness that exists of Wagner. 

A thousand thanks for all the kind things you write 
and think of me. I very much wish that you should 
be in agreement with my present and my next work. 
If I could only dispose of my time better ! But it 
is a wretched misery to have to spend one's time upon 
so many useless things and people, when one's head 
is quite full of other things ! — Well, it must be so. 
God grant only patience and perseverance ! 
1 " Gesammelte Schrifteh," vol. iii., 1. 


I cannot remember for certain whether I have 
already sent you the Avant-propos to my Symphonic 
Poems, which I have in the meantime had printed on 
the occasion of their performance here. In any case 
I send them, together with the portrait for which 
you asked. I am now working at the ninth number 
(Hungaria) — the eight others are perfectly ready ; but 
it will certainly be next spring before they appear 
in score. 

Of pianoforte music I have nothing more to send you 
(until the "Annees de Pelerinage" appear at Schott's), 
except the little " Berceuse," which has found a place 
in the "Nuptial Album" of Haslinger. Perhaps the 
continuous pedal DJ7 will amuse you. The thing ought 
properly to be played in an American rocking-chair 
with a Nargileh for accompaniment, in tempo comodissimo 
con scntimcnto, so that the player may, willy-nilly, give 
himself up to a dreamy condition, rocked by the regular 
movement of the chair-rhythm. It is only when the 
Bb minor comes in that there are a couple of painful 
accents. . . . But why am I talking such nonsense with 
you ? — Your very perspicuous discovery of my intention 
in the second motive of the Sonata — 

in contrast with the previous hammer-blows — 


perhaps led me to it. 

Farewell, my dear friend, and remain good to your 

Weymar, June Sth, 1854. F. LlSZT. 


114. To Dr. Fraxz Brendel. 

Dear Friend, 

I have had to alter a good deal in the Robert 
article, especially in the division of the subjects. Do 
not be angry about it. It will only make a very little 
trouble, and it pleases me better like this. Ergo my 
present Varianten [various readings] must be printed 
word for word in the next number. 

If you have a couple of hours to spare, come next 
Saturday to Halle. Schneider's Weltgericht [Last 
Judgment] is to be given there by the united Liedertafel * 
of Dessau, Magdeburg, Berlin, Halle, etc. (on Saturday 
afternoon at 3 o'clock), and I have promised to be 
there. It would give me great pleasure to meet you 
at Halle ; I shall put up at the Englischer Hof there. 
I hope you will accept my invitation, and therefore 
I shall say, Anf Wiedersehen [Au revoir] ! 

Yours in friendship, 

F. Liszt. 

June \2th, 1854. 

It will be easy for you to find out for certain about 
the performance at Halle. In any case I shall come 
for the day fixed for the Weltgericht (a peculiar work, 
written, as it w T ere, from a pedestal of his own !). At 
present it is announced for next Saturday. Should 
there be any alteration, I shall arrange accordingly, and 
come later. — . 

P.S. — The proofs must be very carefully revised, as 
there are a great many little alterations. Be so good 

* Singing Societies. 


as to revise the whole thing accurately yourself. When 
the article has appeared, please send me to-day's proofs 
back. 1 

115. To Carl Klindworth in London.' 2 

Best thanks, dear Klindworth, for your nice 
letter. After the " Lamento " it seems a " Trionfo " is 
now about to be sounded. That gives me heartfelt 
pleasure. Your M ur l-connection and Murl-wander- 
ings 3 with Remenyi 4 are an excellent dispensation of 
fate, and on July 6th, the day of your concert at 
Leicester, the Weimar Murls shall be invited to supper 
at the Altenburg, and Remenyi and Klindworth shall 
be toasted "for ever ! " * — 

On July 8th I go from here to Rotterdam. The 
days of the performances are July 13th, 14th, and 
15th. The last number but one of Brendel's paper 
(June 1 6th) contains the complete programme. The 
principal works will be Handel's Israel in Egypt, 
Haydn's Seasons, the Ninth Symphony, and a newly 
composed Psalm by Verhulst (the royal conductor of 
the Netherlands, director of the Euterpe Concerts in 
Leipzig about twelve years ago, and at present director 

1 " Gesammelte Schriften," vol. iii., I. 

- A pupil of Liszt's, eminent both as a pianist, conductor, and 
musical editor; born at Hanover in 1830, lived in London, Moscow, 
and America; has, since 1882, been director of a music school in 

:i The Society of " Murls" (Moors, Devil-boys— that is to say, Anti- 
Philistines) was started at that time in Weimar. Liszt was Padischah 
(i.e. King or President) ; his pupils and adherents, Biilow, Cornelius, 
Pruckner, Remenyi, Laub, Cossmann, etc., etc., were Murls. 

4 A celebrated Hungarian violinist. 

* Liszt writes "for ever hoch leben lasscn." 


of the Rotterdam Festivals). Roger, Pischek, Formes, 
Madame Ney, Miss Dolby, etc., have undertaken the 
solos, and the programme announces nine hundred 
members. It would be very nice if you and Remenyi 
and Hagen 1 could come ; in that case you would have 
to start at once, for on the 13th it begins, and on the 
1 6th I leave Rotterdam — and go for a couple of days 
to Brussels, where I shall meet my two daughters. 

A couple of Murls would look well in Rotterdam, 
and would make up to me in the best possible way for 
a lot of Philistinism which I shall probably have to put 
up with there (by contact with many honourable 
colleagues and companions in Art). . . . So, if you 
possibly can, come. We will then have a Murl-Miisical 
Festival in my room. (N.B. — I shall be staying with 
Mr. Hope, the banker.) 

One has to get accustomed to the London atmo- 
sphere, and make one's stomach pretty solid with porter 
and port. For the rest, musical matters are not worse 
there than elsewhere, and one must even acknowledge 
some greatness in bestiality. If you can stand it, I am 
convinced that you will make a lucrative and pleasant 
position for yourself in London, and also gain a firm 
footing for the Murl propaganda ("une, indivisible et 
invincible") on the other side of La Manche, " ce qui 
sera une autre paire de manches." (In case you don't 
understand this joke, Remenyi must explain it to you.) 
So be of good courage and among good things ! How- 
ever things may be, never make capitulation with what 

1 Theodor Hagen, a writer, known as a witty critic of his time 
under the name of " Bit iter b rod" [bread and butter] in the Signale ; 
died subsequently in America. 

VOL. I. 13 


is idle, cowardly, or false — however high your position 
may become — and preserve, under all circumstances, 
your Murldom ! — 

The two pieces from Raff's Alfred 1 have been 
brought out by Heinrichshofen (Magdeburg), and are 
dedicated to Carl Klindworth. Write me word how I 
can send them to you in the quickest and most econo- 
mical manner — together with the Sonata. 2 The Dante 
Fantasia will appear in the autumn, with the other 
pieces of the "Annees de Pelerinage," at Schott's, and 
I will tell him to reserve a copy for you. 

Since you went away I have worked chiefly at my 
Symphonic Poems, composing and elaborating. The 
nine numbers are now quite ready, and seven of them 
entirely copied out. Next winter I intend to publish the 
scores, which ought to make about a thousand engraved 
plates. Immediately after my return from Rotterdam 
I shall set to work on the Faust Symphony, and hope 
that I shall have it ready written out by February. 

Hartel is publishing also a <souple of transcriptions 
from Lohengrin (the Festal March before the third act, 
with the Bridal Chorus, Elsa's Dream and Lohengrin's 
rebuke to Elsa), which I wrote lately. 

A propos of Hartel, haven't you heard anything of 
your arrangement of the Schubert Symphony ? The 
matter is being delayed rather long, and when I go to 
Leipzig I will inquire at Hartel's. 3 

' Arranged by Liszt for the piano. 

2 It bore the title, in Liszt's handwriting, " Fur die Murlbibliothek " 
(for the Murl Library). 

3 The arrangement for two pianos of the C major Symphony was 
brought out by them. 


I have nothing new to tell you of Wagner. Joachim 
and Berlioz came to see me in May. Hoffmann von 
Fallersleben has settled here, and we see each other 
pretty often. His last poems, " Songs from Weymar," 
are dedicated to me. 

Mason went to London a fortnight ago, and will 
probably come to Rotterdam. Laub is getting married 
in Bohemia, and brings his wife here in September. 
Schulhoff was also with me for a day. 

Of Rubinstein I will tell you more when there is an 
opportunity. That is a clever fellow — the most notable 
musician, pianist, and composer, indeed, who has 
appeared to me from among the newer lights, with 
the exception of the Murls. Murlship alone is wanting 
to him still. But he possesses tremendous material, 
and an extraordinary versatility in the handling of it. 
He brought with him about forty or fifty manuscripts 
(Symphonies, Concertos, Trios, Quartets, Sonatas, 
Songs, a couple of Russian Operas, which have been 
given in Petersburg), which I read through with much 
interest during the four weeks which he spent here on 
the Altenburg. 1 If you come to Rotterdam you will 
meet him there. 

Now farewell, my dear Klindworth, and let me soon 
hear from you. 


F. Liszt. 

July 2nd, 1854. 

From the 10th to the 15th of July letters will find 
me in Rotterdam — Poste restante. 

1 Liszt's home. 


N.B. — Remenyi gives me no reply about the manu- 
script of Brahms' Sonata (with violin). Probably he 
has taken it with him, for I have, to my vexation, 
rummaged through my entire music three times, 
without being able to find the manuscript. Don't 
forget to write to me about this in your next letter, 
as Brahms wants this Sonata for printing. 

116. To Dr. Franz Brendel. 

Dear Friend, 

I send you herewith a long article on Harold 
and Berlioz, which Pohl will translate, and adopt in 
his intended book on Berlioz. 1 Be so good as to see 
that Pohl gets the manuscript as soon as possible, as 
he is probably in Leipzig now. 

To-night I go to Rotterdam for the Musical Festival, 
and thence for a couple of days to Brussels. On the 
22nd — 24th of July I shall come to Leipzig for a few 
hours, before I get back to Weimar. 

I suppose you have given up your Rotterdam journey. 
If you have anything to send for from there, write me 
a line immediately to Poste restante, Rotterdam. 

Two articles are ready for your paper, Die weisse 
Frau* and Alfonso and Estrella. As soon as the 
Montecchi and the Favorita appear you shall receive 
them. 2 The Fliegender Hollander is also ready, but 

1 The article appeared in the Neue Zeitschrift in 1855 (afterwards 
" Gesammelte Schriften," vol. iv.), whereas it did not appear in Pohls 
book on Berlioz, which only saw the light thirty years later, in 1884. 

* The White Lady. 

2 The complete " Gesammelte Schriften," vol. iii., I. 


must be copied. 1 This article is a very long one, and 
will take up several of your numbers. 

Remember me kindly to your wife, and bear me in 
friendly remembrance as your willing collaborator and 
attached friend, 

Weymar, July 7 th, 1854. F - LlSZT. 

117. To Anton Rubinstein. 2 

What are you doing with yourself, my dear 
Van II.? 3 Are you settled according to your liking 
at Bieberich, and do you feel in a fine vein of good- 
humour and work, or are you cultivating the Murrendo 4 
of your invention ? 

Your luggage van of manuscripts was sent off to you 
the day after my return, and will have reached you in 
good condition, I think. I acquit myself herewith of 
my little debt of one hundred thalers, with many 
thanks for your obligingness, until the case arises 
again. A propos of obligingness, will you please send 
me the letter of introduction for Cornelius's sister, who 
is about to begin her theatrical career in the choruses 
of the Italian opera at St. Petersburg ? I told Cornelius 
that you had promised it to me. And I should be very 

1 " Gesammelte Schriften," vol. iii., 2. 

- Rubinstein (born 1830, at Wechwotynetz in Russian Bessarabia) 
gave concerts as early as 1839 in Paris, and Liszt, who was there, 
welcomed in the boy the future "inheritor of his playing," and helped 
him in his studies, both during his stay in Paris, and during his stay 
in Vienna later on, by giving him lessons. When Rubinstein, in 
1854, after a long - sojourn in Russia, came back to Germany, Liszt 
gave him a most hospitable reception at the Altenburg at Weimar. 

3 From Rubinstein's likeness to Beethoven Liszt jokingly called 
him Van II. (that is, Van Beethoven). 

1 This must refer to some witty joke. 


glad to send it him without too much delay. His sister 
is an excellent young person, not too pretty, but well 
brought up, and whom one can introduce with a good 
conscience. It is to be feared that she will feel herself 
very isolated there, and will get " Heimweh " [home- 
sickness] ! 

Let me hear from you soon. As regards myself I 
have very little to tell you at this moment. Weymar 
is deserted, as the Court is absent. Schade alone is 
radiant, for he has already got a heap of subscribers 
to his Weymar* sche Jahrbiicher [Weimar Year-books], 
the first number of which is half printed and will de- 
finitely appear on the 28th August. Mr. de Beaulieu 
will not be back for three weeks ; in spite of this send 
me your scenario of the Russian opera as soon as ever 
you have finished it, for I will see that he has it, and, 
if there is no political obstacle (which is a very excep- 
tional circumstance in these matters), your work shall 
be given next November. 1 When you have sufficiently 
enjoyed the charms of Bieberich, come and see me at the 
Altenburg. It seems to me that you will be at least 
as comfortable here as elsewhere (Baden-Baden with 
Madame * * * excepted !), and Van II. may be certain 
of being always welcome 

To his very affectionate friend, 

Wevmar, July 31st, 1854. F. LlSZT. 

For the translation of your opera I again recommend 
Cornelius, but you will have to pass some weeks here 
to hasten the work. 

1 The opera The Siberian Hunters was, in point of fact, given at 
Weimar through Liszt's instrumentality. 


1 1 8. To Dr. Franz Brendel. 

You would have greatly deceived yourself, dear 
friend, if you had attributed any sort of personal aim 
to my last intimation regarding the conduct of the 
critical part of your paper. By no means could that be 
the case, and I think I even said to you in the course 
of conversation that, so long as my set of articles 
on various operas, which provisionally closes with the 
Flying Dutchman, is going on in the Neue Zeitschrift, 
it seems to me more becoming not to bespeak any other 
musical productions of mine. None the less do I con- 
sider it desirable and quite in the interest of our cause 
that, for the future, the more important productions, 
especially the works of R. Schumann, Hiller, Gade, etc., 
should be brought into consideration more fully and 
oftener than has been the case of late years. The book- 
seller's views, as regards the sending or non-sending 
of works, appear to me unimportant and even injurious 
for the higher position which your paper maintains. — 

I send you herewith Cornelius's article on the Prize 
Symphony and the Girondistes Overture. It is very 
nicely written, and will probably suit you. If possible 
put it into your next number. 

I cannot now undertake the discussion about the 
Schumann collective writings, as I am prevented by 
musical work for a long time. Still, if I write later on 
a couple of articles on the work, that need not prevent 
you from bringing out very soon one or more articles 
discussing the same work. There is much to take 
in and to bring out in it, which one critic alone is 
scarcely capable of conceiving. The best plan of all 


would be if you yourself will undertake the discussion 
of the Schumann writings. Should you, however, not 
have time for it, then Pohl would be the best man for 
this work. His predilection for Schumann, and his 
familiarity with Schumann's views, qualify him 
thoroughly for this. 

My articles on the Flying Dutchman must not wait 
so long as you propose to me in your letter. I wish 
explicity that the two articles on the Weisse Dame and 
Alfonso and Estrella should appear as soon as possible, 
and immediately afterwards the Flying Dutchman, so 
that by the end of September this series of twelve 
opera discussions may have all appeared in the Neue 

At the same time with the proofs of the article on 
the Weisse Dame you will receive the Alfonso and 
Estrella article, and, as soon as these are out, the 
Flying Dutchman, which must be published in September 
— for various reasons, which cannot well be explained in 
a letter. 

Raffs book " Die Wagnerfrage " [The Wagner Ques- 
tion] has arrived here to-day, and I have already read it. 
The author is so pleased with himself that it would be 
a miracle if his readers were joined to him in the same 
proportion, and Raff is specially at variance with 
miracles ! — 

This book makes on me the effect of a pedagogic 
exuberance. Even the occasional good views (on 
harmony, for example) that it contains are obscured 
by a self-sufficiency in the tone and manner of them, 
of which one may well complain as insupportable. 
What Raff wishes to appear spoils four-fifths (to quote 


the time which he adapts so ridiculously to Lohengrin) 
of what he might be. He is perpetually getting on 
scientific stilts, which are by no means of a very solid 
wood. Philosophic formulas are sometimes the envelope, 
the outside shell, as it were, of knowledge ; but it may 
also happen that they only show empty ideas, and con- 
tain no other substance than their own harsh termin- 
ology. To demonstrate the rose by the ferule may 
seem a very scientific proceeding to vulgar pedants ; 
for my part it is not to my taste ; and without being 
unjust to the rare qualities of Raff's talent, which I 
have long truly appreciated, his book seems to me to 
belong too much to the domain of moral and artistic 
pathology for it to help in placing questions of Art in 
their right light. 

I beg you, dear friend, not to repeat this to anybody, 
for I could not go against Raff in any but the most 
extreme case, for which I hope he will not give me 
any occasion. Against the many charges to which he 
has exposed himself I even intend to shield him as far 
as possible, but I am very much grieved that he has 
mingled so much that is raw and untenable in his book 
with much that is good, true and right. 

Farewell, dear friend, and give most friendly greet- 
ings to your wife from 

Yours most sincerely, 

F. Liszt. 

August 1 2th, 1854. 

In the Favorita article a great error has been allowed 
to remain. "No lover, no knight behaves thus" — and 
not " A lover behaves thus," etc. 


Send me at once the proofs of the Weisse Dame, and 
in September bring the Fliegender Hollander, which 
must not wait any longer. 

I am now working at my Faust Symphony. The 
three-keyboard instrument arrived yesterday from Paris. 
It might be well to take the opportunity of my Catalogue 
appearing at Hartel's to see about a special article on 
it in your paper. 

119. To Anton Rubinstein. 

[August, 1854.] 
My dear Van II., 

Whatever scruple I may have in making the 
shadow of an attempt on the liberty of your determina- 
tions and movements, — a scruple of which I gave you a 
pertinent proof by not insisting any further on your 
choosing Weymar instead of Bieberich as your ville- 
giatura during this last month, — yet duty (and a 
theatrical duty !) obliges me to snatch you from your 
Rhine-side leisure, to set yourself to work afresh at 
your business on the banks of the Ilm, — 

" Non piit andrai, farfalone" etc} 

We have to hunt the Siberian bear ; 2 and whether 
it is the season or not, I don't trouble myself about that. 
Mr. de Beaulieu has just answered me in the affirmative 
about the proposition I made to him to give your 
Hunters of Siberia at the beginning of November 
(the 9th, a date already made famous by the Homage 
to Art, a Prologue which will be again given this 

1 Aria from Mozart's Figaro. 

- The Hunters of Siberia, an opera of Rubinstein's. 


season), and asks me particularly to push on as fast 
as possible the copying of all the parts. Now one 
must kill the bear before selling his skin — that is to 
say, translate the libretto, fit it to the music, and 
arrange the score for the performance at Weymar. 

According to what we arranged verbally, I spoke 
about it to Cornelius, who accepts the work of trans- 
lator with pleasure, and will fulfil it promptly, and, 
I am persuaded, to your satisfaction. The only thing 
wanting is for you to come at once, and spend a fort- 
night at Weymar to finish everything. I give you then 
rendez-vous at the Altenburg, where your former quarters 
await you. No one will bother you there, and you 
can give yourself up to cultivating murrendos * to your 
heart's content whenever the fancy takes you. Try 
therefore not to be too long over your farewells to the 
Tannhausers of the banks of the Rhine (and if by 
chance Madame S. is there, pack yourself off secretly 
so as not to provoke a scene of too much frenzy), 
so as to get to Weymar by \st to yd September, for 
your score must be given to be copied by the 15 th to 
the 20th. I will keep your three books till you come, 
and will give them you back at the Altenburg, and 
I take great pleasure in advance in your success on our 

A revoir then, my dear Rubinstein, in a w T eek's time. 
Yours ever in friendship, 

F. Liszt. 

* La Mara thinks there was a joke in connection with this ; I 
cannot help thinking it is a corruption of morcndo, and that perhaps 
Rubinstein joked about cultivating a particular touch or nuance. 
—Translators note. 


Write me simply a word to fix the date of your 
arrival, so that I may let Cornelius know, as he is gone 
for a week to his mother, a few hours away from here. 

In the matter of news I will tell you that my instru- 
ment with three keyboards is installed in the second 
etage of the Altenburg, and that I have finished the 
first part of my Faust Symphony (a third of the whole) 
— the two other parts will be ready in November, I 

I shall also have a little friendly quarrel to pick with 
you, which I reserve for our after-tea conversations. 

A bientot ! 

120. To Alexander Ritter in Dresden. 1 

Hearty good wishes on your marriage, dear 
friend. I reproach myself for disturbing you in your 
honeymoon. Well, a little music to it won't hurt any- 
body. So come as soon as it is agreeable to you. 
The matter is not so very pressing ; I only beg you to 
send a few lines in reply to Herr Jacobi, the secretary 
of the Court Theatre, who wrote to you previously, 
and to tell him the date of your arrival in Weymar. 
As your marriage takes place on the 12th of this 
month, you are quite justified in asking for a few days' 
respite. If it suits you to stay a fortnight longer in 
Dresden, then fix the 1st of October for your coming to 

1 Ritter at this time joined the Weimar Hofcapelle (Court 
orchestra) ; was afterwards music director at Stettin, and lives now 
in Munich ; is celebrated as the composer of the operas Der faule 
Hans and Wem die Krone. 


With regard to your quarters, I am quite ready to 
help you in word and deed. 

In case Pohl is in Dresden you can tell him that his 
wife is also engaged from the 15 th of September (on 
which date the theatre here reopens). I wrote yester- 
day to Brendel, in order to get Pohl's exact present 
address. I expect the answer to-morrow, and Herr 
Jacobi will immediately write to Frau Pohl. 

Meanwhile remember me most kindly to your wife, 
and dispose entirely — without ceremony — of 

Yours most sincerely, 

F. Liszt. 

Weymar, September 6th, 1854. 

121. To Bernhard Cossmann, 
Schloss Chanceaux bei Loches in Touraine. 

Weymar, September 8th, 1854. 

Dear Friend, 

Whilst you are promenading at your leisure 
beneath the fine oaks, beeches, birches, horse-chestnuts, 
etc., of Chanceaux, I have the sotte chance* of gaping 
chanceusement f to the crows of Weymar, where we have 
certainly no Chanceaux, but pretty well of gens sots ! J 
im Loch\ (near Loches ! !). This almost attains to the 
height of punning of our friend Berlioz, does not it ? — 
I should not be able to keep on such heights, and 
therefore I hasten to descend to more temperate 
regions (des regions plus temperees), — " le Clavecin bien 
tempcrc of J. S. Bach," for example, or to some "Beau 

* Silly opportunity, j Doubtfully. J Stupid people. § In this hole. 
All plays upon words, and given therefore in the original. 


lieu " with or without marque an nez (Mar con nay). 1 (I 
implore you to keep this execrable improvisation to 
yourself, for, in my position as Maltre de Chapelle, I 
should run the risk of being fined by the "Hofamt" * 
for allowing myself such an application of Berlioz's 
treatise on instrumentation — -but I really don't know 
what tarantula of a pun is biting me at this moment !) 

Mr. de Beaulieu has just done two graceful acts for 
me, for which I am very grateful. Madame Pohl is 
engaged as harpist to the Weymar Kapelle, and 
A. Ritter of Dresden — the brother of Hans de Billow's 
friend — as violinist in place of little Abel, who is 
leaving us to go and probably assassinate some Cain 
at a second or third desk in an orchestra, somewhere ! 

-A. Ritter is going to marry Mdlle. Wagner on the 
1 2th of this month (the sister of Johanna), who has 
played in comedy at the Breslau theatre, and who, by 
her husband's orders, will not continue playing when 
she has her home to keep. Let us hope so at least ! 
These two new engagements are a great pleasure to 
me, and I shall willingly console myself for the loss of 
the innocent Abel. 

And as Mr. de Beaulieu is just in such a good temper, 
I advise you to profit by the circumstance to write him 
a letter, artistically turned, to beg for a prolongation of 
your holiday, which he will grant you with a good 
grace, I am sure. 

The theatre will reopen the 15 th September. The 
1 6th Ernani will be given. In the course of October 

1 A play on words. The name of the Intcndant of the Weimar 
Court Theatre was Beaulieu-Marconnay. 
* Office in the royal household. 


we shall have the Huguenots, with a new singer from 
Prague, Mdlle. Stoger, of whom one hears wonders. 

For the 9th October (fiftieth anniversary of the 
entry of H.I.H. the Grand Duchess Marie Paulowna 
into -Weymar) a rather curious performance will be 
arranged : — 

1st. The Homage to Art by Schiller. 

2nd. One of my Poemes Symphoniques. 

3rd. The Hunters of Siberia, Opera in one Act — 

Music by Rubinstein. 
4th. The Finale of Loreley by Mendelssohn. 

For the winter season they are thinking of giving 
the two Iphigenies, in Aulis and in Tauris, by Gluck, 
and Schumann's Genoveva. 

Rubinstein and Wasielewski (of Bonn.) have been 
here some days. Raff has published his volume "The 
Wagner Question." I would neither answer nor vindi- 
cate it ! — My monster instrument with three keyboards 
has also arrived a fortnight ago, and seems to me to be 
a great success — and on your return I shall pretty 
nearly have finished my Faust Symphony, at which I 
am' working like a being possessed. 

This is all my news from here, to which I add the 
expression of the old and sincere friendship of your 
very affectionate 

F. Liszt. 

P.S. — I, on my side, will also write to Mr. de 
Beaulieu about you, but it is the thing for you to write 
him a few lines. The matter in itself will not present 
any difficulty. 


122. To Gaetano Belloni in Paris.* 

[September gth, 1854.] 

My dear Belloni, 

Will you do me the kindness to tell Mr. Escudier 
that on my last visit to H.R.H. the Duke of Gotha I 
gave Monseigneur the volume on Rossini, and spoke 
to him at the same [time] of the desire that Mr. 
Escudier had mentioned to me in his last letter to be 
admitted into the order of H.R.H., before putting 
himself at his command ? It goe.s without saying that 
I warmly recommended Mr. Escudier to the Duke; 
but nevertheless he seemed to turn a little deaf, at any 
rate with one ear, to the side of the ribbon. In the 
course of this month I shall probably see the Duke 
again, and will speak to him again about it. On your 
side do not neglect Oppelt, 1 who frequently corresponds 
with Gotha, and rest assured that I shall not fail to be 
agreeable to your friends on this occasion. 

Yours ever, 

F. Liszt. 

Nothing new here. The theatrical season will open 
with Ernani on the 16th September at latest ; they talk 
of mounting Rigoletto or the Foscari. Unfortunately 
the German translations of Verdi's operas are not worth 
a straw, and we are great purists at Weimar. In 
November the Huguenots will also be given, for the 
first time at Weymar, the late Grand Duke never 
having permitted the performance of this work on 

* Autograph in the possession of M. Etienne Charavay in Paris. 
1 A Belgian writer ; translated the Duke's opera. 


account of his respect for Luther, whom his ancestors 
had specially protected. 

Hartel is going to engrave several of my scores. 
Four or five of them will appear in the course of the 
winter (Tasso — the Preludes — Orphee — Mazeppa will 
be printed first) under the title of Poemes Sympho- 

I won't write to Escudiers — it will be enough if you 
let them know of my good intentions in regard to them. 
You know that I am overdone with correspondence, 
and, unless it is absolutely necessary for me to write, 
I abstain from it, so as not to interrupt my work of 
composition, which is my first raison d'etre. 

123. To Eduard Liszt in Vienna. 

What affliction and what desolation, my very 
dear friend ! x Alas ! in trials such as these even the 
sympathy felt by those who are nearest to us can do 
but little to alleviate the overwhelming weight of the 
cross which we have to bear. And yet I wish to tell 
you that in these days of sorrow my heart is near to 
yours, sympathising with your suffering, and trusting 
that "the peace of the Lord," that peace which the 
world can neither give nor take away, may sustain 

Ever yours, 

F. Liszt. 

October 10th, 1854. 

P.S. — Try to come and see me soon ! 

1 Eduard Liszt, then member of the provincial Court of Justice in 
the Civil Senate, had lost his wife from cholera. 

VOL. I. 14 


124. To Anton Rubinstein. 

Weimar, October igi/i, 1854. 

Schott makes me ashamed, my dear Rubinstein. 
Here come the new proofs of the " Kamcno'i-Ostroiv" x 
which he addresses to me for you, and I have not yet 
sent you the previous ones ! To excuse myself I must 
tell you that I am frightfully busy (especially at the 
theatre), and that I did not want to put the proofs in 
a wrapper without writing and thanking you for your 
charming and clever letter from Leipzig. Well, here 
is the whole packet at last, which you can send direct 
to Schott. Nevertheless, I am in your debt for the 
carriage (which please beg Redslob to put to my account), 
and for ten crowns which I borrowed from you at the 
railway. As you are coming back here at the beginning 
of November we shall have plenty of time to settle 
these little matters. 

The rehearsals of your Chasseurs de Siberie begin in 
the course of next week. You may trust in my zeal, 
and be assured that your work will be suitably prepared. 
I only beg you to be here about the 4th November, 
in order to give us your own ideas at the final re- 
hearsals. If you decidedly prefer to be a spectator at 
the performance, I will willingly conduct the work — 
but perhaps at the general rehearsals the fancy may 
take you to mount the conductor's chair, as I proposed 
to you at first : whatever you definitely decide in this 
matter will only be agreeable to me. Therefore just 

1 Rubinstein had written a number of short pianoforte pieces 
named after the Emperor's summer residence near St. Petersburg. 


do as you generally do, I beg you, without ceremony 
or bother of any kind. 

How do you find yourself as regards the musical 
atmosphere of Leipzig ? Has your Ocean obtained 
the suffrages of the Areopagus which must be its first 
judge ? At which Gewandhaus Concert will Mr. Van II. 
be heard ? If you already know anything positive as 
to your debuts in Leipzig, write it to me, with a con- 
tinuation of the commentaries which amused me so 
much in your former letter. We have nothing of 
special news here which can interest you. Madame 
Wagner returns to Weymar the day after to-morrow, 
and next Sunday Lohengrin will be given. The 
Wednesday after that a new singer (Mdlle. Stoger, 
the daughter of the director at Prague), who possesses 
a beautiful voice and appears to be highly endowed, 
will make her debut in Lucrezia Borgia. On the 
24th October I expect Madame Schumann, whom 
you will already have seen and heard at Leipzig. 
When you have an opportunity please tell her not 
to delay her journey to Weymar, for I have made 
all the arrangements with Mr. de Beaulieu, etc., from 
the 24th to the 26th, for the Court Concert and for 
the one which will take place at the theatre in her 

My Faust is finished, and I am going to give it to the 
copyist in a couple of days. I am very curious to make 
acquaintance with yours, and to see in how far the 
beaax-esprits differ whilst meeting on common ground ! 
Your murrendos at Leipzig will have proved favourable 
to your conversations with the Muse, and I look 
forward to a fine Symphony. 


A revoir then, dear friend; on the 4th November, 
or the 5 th at latest, we have the first performance of an 
unpublished tragedy, Bcrnhard von Wcymar, for which 
Raff has written a grand Overture and a March, and 
on the following days your general rehearsals. 

Yours in all friendship, 

F. Liszt. 

125. To Dr. Franz Brendel. 

[Beginning of November, 1854.] 

Dear Friend, 

Pohl's article on Lieder und Sprilche, etc. (Songs 
and Sayings), appears to me to be of general interest 
to the public — therefore I begged you to putit in your 

Touching what you have reserved of Raffs, I am 
quite of opinion that you should also make room for 
him in his Critical Examinations of the Minnesingers* 
The ground is an interesting and attractive one — and 
if a rather warm discussion should ensue later on 
between Raff and Pohl, the field of the Minnegcsang 
(love-song) is by far the most agreeable for both, as 
well as the more entertaining for your readers. Ergo, 
put Pohl's article into your next number. Raff can 
then spring his mines in honour of the Minnegesang 
when he pleases. This may make a quite pleasant 
and harmless joke— perchance a crown of lilies will 
mingle with it in the end and shape the affair into a 
University concern. . . . Your paper, in any case, 

* The German poet-singers of the Middle Ages. 


will not suffer. Therefore set to work and go through 
with it ! 

In Bussenius 1 you have rightly found the man of 
whom I previously foretold you somewhat. I think 
that by the New Year he will settle at Gotha, and carry 
on there with his firm (Balde) greater literary and 
publishing undertakings. Meanwhile don't speak of this. 
When the outlook is more certain, and things are 
favourably settled, I will tell you more. 

I gladly accept your friendly invitation to write an 
article for your New Year's number. In the course of 
the next few days you will receive the article on Clara 
Schumann, and shortly afterwards the second half of 
" Robert Schumann." 

Cornelius has been rather unwell for several days, 
which has delayed the translation. 2 

Will you, dear friend, be so good as to give my 
special thanks to Herr Klitzsch for his article in to-day's 
number ? By the favourable manner in which he enters 
into the intentions of my Mass, and the artistic sym- 
pathy he shows for my endeavour, he has given me 
a very great pleasure. Probably a good opportunity 
will present itself, later on, for me to undertake a further 
work in the religious style, as I feel and conceive it, 
by the composition of a Missa Solemnis for mixed 
chorus and orchestra. . . . For the present I cannot, 

1 Bussenius, under the pseudonym W. Neumann, published the 
set of biographies " The Composers of Recent Times " (Balde, 

- Peter Cornelius translated the articles written in French by Liszt 
— with the collaboration of the Princess Wittgenstein — for the Nene 
Zeitschrift ; those which are published in vols. iii. to v. of the 
"Gesammelte Schriften." 


however, occupy myself with this ; but aufgeschoben 
soil nicht aufgehoben heissen* 

When I come to Leipzig I shall have the pleasure 
of calling on Klitzsch and giving him my best thanks 
in person. If you think I ought to write him a few 
lines before then, let me know. 

Litolff was here several days, and we have come 
nearer together both from a friendly and an artistic 
standpoint. His fourth Concerto (Conzert-Sinfonie) is 
a marked advance on the previous ones. He played 
this, as well as the third Concerto, the day before 
yesterday, in a truly masterly and electric, living manner. 
Frau Dr. Steche will have told you about it. Perhaps 
in your next number you will put in a short appreciative 
notice of LitolfFs appearance here. 

Rubinstein left for Leipzig at midday to-day. The 
performance of his Symphony 1 is fixed for the 16th at 
the Gewandhaus, and later on he will also appear as 
a pianist. Hartel, Hofmeister, and Schott have already 
taken about thirty of his manuscripts, which is about 
the smaller half of his portfolio ! — 

About the Berlin Tannhduser affair I cannot for the 
moment say more than that I have always made Wagner 
feel perfectly at liberty to put me on one side, and to 
manage the matter himself, according to his own wishes, 
without me. But so long as he gives me his confidence 
as a friend, it is my duty to serve him as a discreet 
friend — and this I cannot do otherwise than by giving 
no ear to transactions of that kind, and letting people 

* A German proverb — " Put off is not given up." 
1 Ocean; given for the first time, November 16th, 1854, at the 
Gewandhaits Concert for the Poor. 


gossip as much as they like. Don't say anything more 
about it for the present in your paper. The matter 
goes deeper than many inexperienced friends of 
Wagner's imagine. I will explain it to you more 
clearly by word of mouth. Meanwhile I remain passive 
— for which Wagner will thank me later on. 

Yours most truly, 

F. Liszt. 

N.B. — Pohl wishes his Minnesinger article not to be 
signed with the name Hoplit, but with the letters R. P., 
when it appears in your paper. 

126. To Anton Rubinstein. 

Your Dialogue Dramatique apropos of your Ocean 
is a little chef-d'ceuvre, and I shall keep it, in order, 
later on, to put it at the disposal of some future Lenz, 
who will undertake your Catalogue and the analysis 
of the three styles of Van II. We laughed with all our 
hearts, a deux, in the little blue room of the Altenburg, 
and we form the most sincere wishes that Gurkhaus, 1 
the Deus ex machina, may have come to put you out 
of the uncomfortable state of suspense in which the 
Gewandhaus public did you the honour to leave you. 
To tell the truth, this decrescendo of applause, at the 
third movement of your Symphony, surprises me greatly, 
and I would have wagered without hesitation that it 
would be the other way. A great disadvantage for 
this kind of composition is that, in our stupid musical 
customs, often very anti-musical, it is almost impossible 

1 Principal of the music firm F. Kistner in Leipzig. 


to appeal to a badly informed public by a second per- 
formance immediately after the first ; and at Leipzig, 
as elsewhere, one only meets with a very small number 
of people who know how to apply cause and effect 
intelligently and enthusiastically to a piece out of the 
common, and signed with the name of a composer who 
is not dead. Moreover I suspect that your witty 
account is tainted with a species of modesty, and I 
shall wait, like the general public, for the accounts in 
the newspapers in order to form an opinion of your 
success. Whatever may come of it, and however well 
or ill you are treated by the public or criticism, my 
appreciation of the value that I recognise in your works 
will not vary, for it is not without a well-fixed criterion, 
quite apart from the fashion of the day, and the high 
or low tide of success, that I estimate your compositions 
highly, finding much to praise in them, except the 
reservation of some criticisms which almost all sum up 
as follows — that your extreme productiveness has not 
as yet left you the necessary leisure to imprint a more 
marked individuality on your works, and to complete 
them. For, as it has been very justly said, it is not 
enough to do a thing, but it must be completed. This 
said and understood, there is no one who admires more 
than I do your remarkable and abundant faculties, or 
who takes a more sincere and friendly interest in your 
work. You know that I have set my mind upon your 
Ocean being given here, and I shall beg you also to 
give us the pleasure of playing one of your Concertos. 
In about ten days I will write and tell you the date of 
the first concert of our orchestra. 

Meanwhile your Chasseurs do Sibe'rie will be given 


again on Wednesday next (the 22nd). I will tell 
Cornelius to give you tidings of it, unless the fancy 
takes you to come and hear it, in order to make a 
diversion from your " Voix interieures " [internal voices] 
of Leipzig. 

Write to me soon, my dear Van II., and believe me 
wholly your very affectionate and devoted friend, 

F. Liszt. 

November igth, 1854. 

127. To Dr. Franz Brendel. 

Dear Friend, 

Kahnt 1 is only known to me by name, as an 
active and not too moderately Philistine publisher. 
Personally I have never met him, and therefore I 
cannot give a decided opinion as to his fitness and 
suitability for the post of publisher of the Nene Zeit- 
schrift — yet, on the grounds you give me, it seems quite 
right. Nothing is to be expected from Bussenius until 
he has made a firm footing at Gotha, which can only 
come to pass in the course of the next months ; besides 
this, he has such gigantic plans for his new establish- 
ment in Gotha that the affairs of the Neue Zeitschrift 
might be left somewhat in the background. I entirely 
agree with you on this point, that you cannot put the 
Neue Zeitschrift in the market and offer it to just any 
publisher who has shown himself up to now hostile to 
our tendencies. To do such a thing as that could 
never lead to a satisfactory result. I would, however, 

1 The subsequent publisher, for many years, of the Neue 


remark that the next few years will probably set our 
party more firmly on their legs ; the invalidity of our 
opponents vouches pretty surely for that, apart from 
the fact, which is nevertheless the principal point, that 
powerful talent is developing in our midst, and many 
others who formerly stood aloof from us are drawing 
near to us and agreeing with us. Consequently it 
seems to me that it is not to your interest to conclude 
at once a contract for too many years with Kahnt, 
unless, which is scarcely likely, he were to make you 
such an offer that you would be satisfied with it under 
the most favourable conditions. If Kahnt shows the 
necessary perception and will for the matter, try to get 
him to have a consultation with me about it at Weymar. 
As he is also a music publisher I could tell him some 
things, and make others plainer, which would not be 
without interest to him. He need not be afraid that I 
shall belabour him with manuscripts or urge him to 
untimely or useless sacrifices. ... (I need not waste more 
words over the purity of my intentions !) But 1 think 
it is desirable that, if Kahnt consents to become editor 
of the Neue Zeitschrift } I should put him on his guard 
about several things beforehand which do not come 
exactly within the sphere of your activity, but which 
may essentially help to the better success of the under- 
taking. A couple of hours will be ample for it, and as 
I shall not be absent from Weymar during the coming 
weeks Kahnt will find me any day. Perhaps it could 
be arranged for you to come to Weymar with him for 
a day, and then we three can make matters perfectly 
clear and satisfactory. 

Although it is very difficult to me to make time for 


the more necessary things, yet I am quite at your 
service with a short article for the trial-number on 
Wagner's Rheingold. I had arranged the article so as 
to do for the New Year's number — you shall have it in 
four to five days. Dispose of it as suits you best. In 
case the " Clara Schumann " article does not appear in 
the next number of the paper, and we do not have to 
wait too long for the trial-number, it would be well 
perhaps to put it in there. Possibly it might also be 
reprinted in the trial-number. 

I am glad that you, dear friend, after some " jerks 
and wrenches," have come together again with the 
pseudo-Musician of the Future, Rubinstein. He is a 
clever fellow, possessed of talent and character in an 
exceptional degree, and therefore no one can be more 
just to him than I have been for years. Still I do not 
want to preach to him — he may sow his wild oats and 
fish deeper in the Mendelssohn waters, and even swim 
away if he likes. But sooner or later I am certain he 
will give up the apparent and the formalistic for the 
organically Real, if he does not want to stand still. 
Give him my most friendly greetings ; as soon as our 
concert affairs are settled here I shall write and invite 
him to give one of his orchestral works here. 

Do not let yourself be grieved at the ever-widening 
schism in Leipzig about which you write to me. We 
have nothing to lose by it ; we must only understand 
how to assert our full rights in order to attain them. 
That is the task, which will not be accomplished in a 
day nor in a year. Indeed, it is as it is written in the 
Gospel, " The harvest truly is plentiful, but the labourers 
are few ! " Therefore we are not to make ourselves 


over-anxious — only to remain firm, again to remain 
firm — the rest will come of itself! — 

I will do my utmost for Fraulein Riese, 1 that she 
may not repent the somewhat trying journey. It is 
a splendid and plucky determination of hers to come 
regularly to Weymar, and I hope she will gain thereby 
much pleasure and satisfaction. 

Nauenburg's proposal of a Tonkunstler- Vcrsammlung 
(meeting of musicians) in Weyrnar is very flattering to 
me ; the same was written to me from several other 
sides. Hitherto I have always abstained from it, 
because I thought it was more prudent not to sell the 
bear's skin before the bear is shot. Moreover the 
ordinary fine talk without deeds [" much cry and little 
wool "] is very distasteful to me : let friend Kuhmstedt 2 
sing that kind of philosophical fioritures in Eisenach ; 
I have no talent for it. None the less we can return 
to the Nauenburg proposition at a convenient oppor- 
tunity, and see how it could be best carried out. 
According to my opinion, Leipzig would be the most 
suitable place — and the summer a good time for it. 

I consider Raff's polemic entirely harmless. Your 
readers will get a lesson in history from it, for which 
they can but be grateful to you — and we need not be 
anxious about Pohl. It will not puzzle him to eat his 
way out suitably and wittily. 

Yours ever, 

December is/, 1854. *■ LlSZT. 

1 Pianoforte teacher in Leipzig, who for years went every Sunday 
to Weimar to study with Liszt ; died i860. 

- Professor at a school, and Music Director at Eisenach ; died 



128. To J. W. von Wasielewski in Bonn. 1 

Dear Friend, 

Owing to the somewhat long detour of the 
Pesther Lloyd, in which the friendly lines of remem- 
brance have been reprinted which you dedicated to the 
Altenburg in the Cologne paper, I only heard of these a 
few days ago. 2 Please therefore to excuse the delay in 
my thanks, which are none the less sincere and heartfelt. 
I have heard many accounts of your most successful 
concert performances in Bonn, all of which unite in 
giving you due praise for your excellent conducting. 
At the beginning of January concert affairs here, which 
have hitherto been in a vacillating and fluctuating con- 
dition, owing to various local circumstances, will take a 
more settled turn ; I will send you the complete pro- 
gramme shortly. By to-day's post you will receive 
the " Songs and Sayings " from the last period of the 
Minnesang, arranged for four voices by W. Stade (of 
Jena). It is an interesting work, and the editors would 
be very much indebted to you if you w T ould have the 
kindness to give a couple of numbers of them at your 
concerts. The little pieces make quite a pretty effect, 
and one peculiar to themselves, which will prove still 
more intense with the beautiful Rhine voices. Perhaps 
you would also find time and inclination to make the 

1 Formerly Conductor of the Town Vocal-Union at Bonn (born 
1S22), afterwards at Dresden; then again in Bonn as Music Director, 
and living since 1S84 in Sondershausen. Widely known as a literary 
man through his biographies of Schumann and Beethoven, and also 
through his book " The Violin and its Masters," etc. 

2 Written on the occasion of a week's visit to Liszt at the Altenburg 
at Weimar, at which time A. Rubinstein was also the Master's guest. 


public favourably disposed towards the work by a few 
lines in the Cologne paper. 

How is Hiller ? Has his Advocate 1 won his requisite 
suit, as I wish from my heart may be the case ? It 
would be very kind of you to let me know your plain, 
unvarnished opinion of the performance. I should 
like to recommend an early performance of the opera 
in Weymar if Hiller has nothing against it. As you 
frequently have occasion to see Hiller I beg you to ask 
him whether it would be agreeable to him to send me 
the text-book and the score, so that I may make the 
proposal to the management to give the opera here very 
soon. — Should the matter be then so arranged that he 
himself conducts the first performance I should be very 
glad indeed, and I will write to him more fully about it. 

The opera repertoire here will be rather at a stand- 
still this winter. Frau von Milde is in an interesting 
condition : consequently there can be no Wagner operas 
from three to four months ; for Frau von Milde is for 
us, and for these operas in particular, not to be 
replaced. Berlioz's Benvenuto Cellini must also be left 
unperformed ; all the more because Beck, the tenor, has 
entirely lost his upper notes, and is less able than ever 
to sing the part of Cellini. But Berlioz will come here 
in January to conduct his oratorio LEnfance du 
Christ, etc. (German translation by Cornelius), and his 
Faust. I on my side have also finished my Faust 
Symphony (in three parts — without text or voice). 
The entity or non-entity has become very long, and I 
shall in any case have the nine Symphonic Poems 

1 An opera, The Advocate It had no success, and was publicly 
ridiculed at the Cologne Carnival. 


printed and performed first, before I set Faust going, 
which may not be for another year. Rubinstein's 
Ocean Symphony is to figure in one of our next pro- 
grammes. If it were not the rule to keep these concerts 
exclusively instrumental, I should have begged Hiller 
for his Loreley. Probably a good opportunity will 
occur for giving this work when he himself comes to 
Weymar, as he promised me he would do. 

Joachim sent me, together with his Hamlet Overture, 
which is in print, two others — to Demetrius (by 
Hermann Grimm), and to Henry IV. (of Shakespeare) 
— two remarkable scores composed with lion's claws 
and lion's jaws ! — 

Have you any news of Schumann ? Give me some 
good tidings of his recovery. Genoveva will be given 
here in April at latest. — 

Once more best thanks, dear friend, for the very 
pleasant days you gave us here, which the inhabitants 
of the Altenburg most agreeably remember; they send 
you most friendly greetings. I have not forgotten 
about the Weimar orchestra matter — a half-prospect 
has already appeared of realising my wish, which is 
in accord with your own. I cannot help, however, 
always doubting whether it will be for your advantage 
to exchange Bonn for Weymar, for your position in 
Bonn appears to me to offer you decidedly improving 
chances from year to year, and in these regions so much 
is wanting . . . that I am constrained to be satisfied 
with small things. Well, what must be will be. 
Meanwhile keep in kind remembrance 

Yours in sincere friendship, 

Weymar, December 14M, 1854. F. LlSZT. 


129. To William Mason in New York. 1 

My dear Mason, 

Although I do not know at what stage of your 
brilliant artistic peregrinations these lines will find you, 
yet I want you to know that I am most sincerely and 
affectionately obliged to you for the kind remembrance 
you keep of me, and of which the papers you send me 
give such good testimony. " The Musical Gazette" of 
New York, in particular, has given me a real satisfac- 
tion, not only on account of the personally kind and 
flattering things it contains about me, but also because 
that paper seems to ingraft a superior and excellent 
direction on to opinion in your country. 

Now you know, my dear Mason, that I have no other 
pride than to serve, as far as in me lies, the good cause 
of Art, and whenever I find intelligent men conscien- 
tiously making efforts for the same end I rejoice and 
am comforted by the good example they give me. Will 
you please give my very sincere compliments and 
thanks to your brother, who, I suppose, has taken the 
editorship-in-chief of the Musical Gazette, and if he 
would like to have some communications from Weymar 
on what is going on of interest in the musical world 
of Germany I will let him have them with great 
pleasure through Mr. Pohl, who, by the way, no longer 
lives in Dresden (where the numbers of the Musical 
Gazette were addressed to him by mistake), but in the 
Kaufstrasse, Weymar. His wife, being one of the best 
harpists whom I know, is now among the virtuosi of 

1 A pupil of Liszt's, born 1828 at Boston, esteemed as a first-rate 
piano virtuoso in America. 


our orchestra, which is a sensible improvement both 
for opera and concerts. — 

A propos of concerts, I will send you in a few days 
the programme of a series of Symphonic performances 
which ought to have been established here some years 
ago, and to which I consider myself in honour as in 
duty bound to give a definite impetus at the beginning 
of the year 1855.— Toward the end of January I expect 
Berlioz. We shall then hear his trilogy of LEnfance 
du Christ* of which you already know La Fnite en 
Egypte,\ to which he has added two other little Oratorios 
called Le Songe d 'Her ode \ and LArrivee a Sais.\- — His 
dramatic Symphony of Faust (in four parts, with solos 
and chorus) will also be given entire while he is here. 

As regards visits of artists last month which were 
a pleasure to me personally, I must mention Clara 
Schumann and Litolff. In Brendel's paper (Nene 
Zeitschrift) you will find an article signed with my 
name on Madame Schumann, whom I have again heard 
with that sympathy and thoroughly admiring esteem 
which her talent commands. As for Litolff, I confess 
that he made a great impression on me. His Fourth 
Symphonic Concerto (in manuscript) is a very remark- 
able composition, and he played it in such a masterly 
manner, with so much verve, such boldness and cer- 
tainty, that it gave me very great pleasure. If there 
is something of the quadruped in Dreyschock's mar- 
vellous execution (and this comparison should by no 
means vex him : is not a lion as much a quadruped as 
a poodle ?), there is certainly something winged in 

* The Childhood of Christ. \ Herod*s Dream. 

f The Flight into Egypt. § The Arrival at Sai's. 

VOL. I. 15 


Litolff's execution, which has, moreover, all the 
superiority over Dreyschock's which a biped with 
ideas, imagination, and sensibility has over another 
biped who fancies that he possesses a surfeit of them 
all — often very embarrassing ! 

Do you still continue your intimate relations with 
old Cognac in the New World, my dear Mason ? — 
Allow me again to recommend you measure, which is 
an essential quality for musicians. In truth, I am not 
very much qualified to preach to you the quantity of this 
quantity ; for, if I remember rightly, I employed a good 
deal of Tempo rubato in the times when I was giving my 
concerts (a business that I would not begin again for 
anything in the world), and again, quite lately, I have 
written a long Symphony in three parts entitled Faust 
(without text or vocal parts), in which the horrible 
measures of f, -J, J, alternate with C and f. — 

In virtue of which I conclude that you ought to 
limit yourself to |ths of a small bottle of old Cognac 
in the evening, and never to go beyond five quarters ! — 
Raff, in his first volume of the " Wagner- Frage," 
has realised something like five quarters of doctrinal 
sufficiency ; but that is an example that can hardly be 
recommended for imitation in a critical matter, and 
especially in Cognac and other spirituous matters. 

Pardon me, my dear Mason, for these bad jokes, 
which however my good intentions justify, and try to 
bear yourself valiantly both morally and physically, 
which is the heartfelt wish of 

Your very affectionate 

F. Liszt. 

Weymar, December 14th, 1854. 


You did not know Rubinstein at Weymar. 1 He 
stayed here some time, and notoriously cuts himself 
off from the thick mass of so-called pianist composers 
who don't know what playing means, and still less 
with what fuel to fire themselves for composing — so 
much so that with what is wanting to them in talent 
as composers they think they can make themselves 
pianists, and vice versa. 

Rubinstein will constantly publish a round fifty 
of works — Concertos, Trios, Symphonies, Songs, Light 
pieces — and which deserve notice. 

Laub has left Weymar ; Ed. Singer has taken his 
place in our orchestra. The latter gives great pleasure 
here, and likes being here also. 

Cornelius, Pohl, Raff, Pruckner, Schreiber, and all 
the new school of new Weymar send you their best 
remembrances, to which I add a cordial shake hand.* 

F. L. 

130. To Rosalie Spohr. 

Pray pardon me, dear artist and friend, that I 
am so late in expressing the hearty sympathy which 
your Weymar friends take in the joyful event of your 
marriage. 2 You know well that I am a poor, much- 
bothered mortal, and can but seldom dispose of my 
time according to my wishes. Several pressing pieces 
of work, which I was obliged to get ready by this New 

1 Liszt was mistaken about this. Mason had even done the 
principal honours to Rubinstein at his first visit to Weimar, in the 
absence of the Master. 

* Written thus in English by Liszt. 

2 To Count Sauerma. 


Year's Day, have prevented me up to now from giving 
you a sign of life — and I am employing my first free 
moment to assure you that the changing date of the 
year can bring with it no variation in my sincere, 
friendly attachment. Remember me most kindly to 
the papa and sister, and write to me when you can and 
tell me where you are going to live henceforth. Possibly 
I might happen to be in your neighbourhood, in which 
case I should hasten to come and see you. 

I have but little news to give you of Weymar. That 
Litolff has been to see me here, and played his two 
Symphony-Concertos capitally, you doubtless know. 
Probably he will come back after his journey to Brussels, 
in the course of next month, when I also expect 
Berlioz here. Our orchestra now also possesses a very 
first-rate harpist, Frau Dr. Pohl, with a good double- 
movement harp of Erard. It seems that poor Erard is 
no better, and his " cure " at Schlangenbad has not 
had the desired result. I frequently get very sad 
tidings of his condition through my daughter. 

I thank you warmly for the friendly reception you 
accorded to Herr Wolf as a Weymarer. I hope he 
did not inconvenience you by too long visits. His 
wife brought me some weeks ago the original sketch 
of your portrait, which is to become my possession. 

The Frau Furstin [Princess] and Princess Marie 
commission me to give you their most friendy greetings 
and wishes, to which I add once more the expression 
of my friendly devotion. 

A thousand respects and homage. 

F. Liszt. 

January ^.t/i, 1 85 5. 


131. To Alfred Dorffel in Leipzig. 1 

Dear Sir, 

Allow me to express to you direct my most 
cordial thanks for the conscientious and careful pains 
you have taken in regard to my Catalogue. 2 I am 
really quite astonished at the exactitude of your re- 
searches, and intend to repeat my warm thanks to you 
in person in Leipzig, and to discuss with you still more 
fully the motives which lead me not entirely to agree 
with your proposal, and only to use a part of your 
new elaboration of my Catalogue. To avoid diffuseness, 
I can for to-day only state a couple of points. 

The standpoint of your new arrangement is, if I 
have rightly understood you, as follows : — There are 
still being circulated in the music-shops a certain 
number of copies of my works, especially of the Studies, 
Hungarian Rhapsodies, and several Fantasiestucke (under 
the collective title of " Album d'un Voyageur"), etc., 
that I have not included in my Catalogue, which I 
gave into Dr. Hartel's hands for printing; — and you 
have taken upon yourself the troublesome task of 
arranging these different and somewhat numerous works 
in what would be, under other circumstances, a most 
judicious manner. 

However gratifying to me this interest of yours in 
the production of a suitable Catalogue can but be, yet 

1 Writer on music, born 1 82 1 ; custodian of the musical section of 
the town library of Leipzig : the University there gave him the 
degree of Dr. phil. honoris causa. 

- "Thematic Catalogue of Liszt's Compositions."' 


I must declare myself decidedly for the non-acceptance 
of the portions added by you (with certain exceptions). 

1. The Hofmeister edition of the twelve Studies 
(with a lithograph of a cradle, and the publisher's 
addition " travail de jeunesse " !) is simply a piracy of the 
book of Studies which was published at Frankfort when 
I was thirteen years old. I have long disowned this 
edition and replaced it by the second, under the title 
(< Etudes d' execution transcendante" published by Has- 
linger in Vienna, Schlesinger in Paris, and Mori and 
Lavener in London. But this second edition has now 
been annulled several years ago, and Haslinger has, by 
my desire, put aside my copyright and plates, and bound 
himself by contract not to publish any more copies 
of this work henceforth. After a complete agreement 
with him I set to work and produced a third edition of 
my twelve Studies (very materially improved and trans- 
formed), and begged Messrs. Hartel to publish it with 
the note " seule edition authentique, revue par Vauteur, 
etc." which they did. Consequently I recognise only the 
Hartel edition of the twelve Studies as the sole legitimate 
one, which I also clearly express by a note in the 
Catalogue, and I therefore wish that the Catalogue 
should make no mention of the earlier ones. I think 
I have found the simplest means of making my views 

and intentions clear by the addition of the sign ( +). 

2. It is the same case with the Paganini Etudes and 
the Rhapsodies hongroises ; and after settling matters 
with Haslinger I completely gained the legal right 
to disavow the earlier editions of these works, and to 
protest against eventual piracy of them, as I am once 


more in possession both of the copyright and the entire 
engraving plates. 

These circumstances will explain to you the re- 
appearance (in a very much altered conception and 
form) of many of my compositions, on which I, as 
piano player and piano composer, am obliged to lay 
some stress, as they form, to a certain extent, the 
expression of a closed period of my artist-individuality. 

In literature the production of very much altered, 
increased, and improved editions is no uncommon thing. 
In works both important and trivial, alterations, 
additions, varying divisions of periods, etc., are a com- 
mon experience of an author. In the domain of music 
such a thing is more minute and more difficult — and 
therefore it is seldom done. None the less do I con- 
sider it very profitable to correct one's mistakes as far 
as possible, and to make use of the experiences one 
gains by the editions of the works themselves. I, for 
my part, have striven to do this; and, if I have not 
succeeded, it at least testifies to my earnest endeavour. 

3. In the "Anneesde Pelerinage" (Schott, Mainz) 
several of the pieces are again taken from the " Album 
d'un Voyageur." The Album brought out by Haslinger 
must not be quoted in the Catalogue, because the work 
has not been carried out according to its original plan, 
and Haslinger has given me back, in this case also, 
the copyright and plates. 

As the natural consequence of what I have said 
I beg you therefore, dear sir, not to undertake any 
alteration in the disposition and arrangement of my 
Catalogue, and only to add the various enlargements 
and improvements, for which I have to thank your 


overlooking and corrections, as I have now given them 
and marked them. — 

The title of the Catalogue might sound better thus 
in German : — 

F. Liszt. 

" Thematischer Catalog." * 

And the letters of the headings " Etudes — Harmonies 
— Annees de Pelerinage — Ungarische Rhapsodien — 
Fantaisies on Airs from Operas, etc.," must be rather 
large, and these headings separated from the special 
title of the works. 

I cannot agree with the admission of a supplementary 
Opus-number, — but it is of consequence to me that 
the Catalogue should come out speedily, in order to get 
as clear a survey as possible of my works up to the 
present time (which, however, are by no means suffi- 
cient for me). 

Accept once more my best thanks, dear sir, as also 
the assurance of high esteem of 

Yours most truly, 

January 17th, 1855. *■ J-- ISZT - 

P.S. — I take the liberty of keeping your edition of 
the Catalogue here meanwhile, as it cannot be used for 
the arrangement of the Hartel edition. 

132. To Anton Rubinstein. 

Your fugue of this morning, my dear Rubinstein, 
is very little to my taste, and I much prefer to it the 
Preludes that you wrote at an earlier date in this 

* "Thematic Catalogue." 


same room, which, to my great surprise, I found empty- 
when I came to fetch you for the Berlioz rehearsal. 
Is it a fact that this music works on your nerves ? 
And, after the specimen you had of it the other time at 
the Court, did the resolution to hear more of it seem to 
you too hard to take ? Or have you taken amiss some 
words I said to you, which, I give you my word, were 
nothing but a purely friendly proceeding on my part ? 
Whatever it may be, I don't want any explanations in 
writing, and only send you these few lines to intimate 
that your nocturnal flight was not a very agreeable 
surprise to me, and that you would have done better 
in every way to hear the Fuite en Egvpte and the 
Fantaisie sur la Tempete of Shakespeare. 

Send me tidings of yourself from Vienna (if not 
sooner), and, whatever rinforzando of " murrendo" may 
happen, please don't do a wrong to the sentiments 
of sincere esteem and cordial friendship invariably 
maintained towards you by 

Weymar, February 2\st, 1855. *• LlSZT. 

133. To Louis Kohler. 

My very dear Friend, 

Hans von Bulow will bring you these lines. 
You must enjoy yourself in the artist who, above all 
other active or dying out virtuosi, is the dearest to me, 
and who has, so to speak, grown out of my musical 
heart. — When Hummel heard me in Paris more than 
twenty-five years ago, he said, " Der Bursch ist ein 
Eisenfresser" * To this title, which was very flattering 

* "The fellow is a bravo.'" 


to me, Hans von Billow can with perfect justice lay 
claim, and I confess that such an extraordinarily gifted, 
thorough-bred musical organism as his has never come 
before me. 

Receive him as an approved and energetic friend, 
and do all you can to make his stay in Konigsberg a 
pleasant one. 

Yours in friendship, 

F. Liszt. 

Weymar, March \6th, 1855. 

The engraving of my Symphonic Poems is in pro- 
gress, and in the course of this summer five or six of 
them will be ready. There is a good bit of work in it. 

At the present time I am exclusively engaged in 
the composition of a Missa solemnis. You know that I 
received, from the Cardinal Primate of Hungary, the 
commission to write the work for the consecration of 
the cathedral at Gran, and to conduct it there (probably 
on the 15th of August). 

134. To Dr. Franz Brendel. 

Sunday, March 18///, 1855. 
A few words in haste, dear friend, for I am 
over head and ears in work. First and foremost, my 
best thanks for your communications, with the request 
to continue them, even if I cannot always answer the 
different points thoroughly. 

I send you herewith the title of " The Captive " 1 — the 
words must be written under the notes both in French 

1 Song, by Berlioz, for alto voice with orchestra or piano. 


and German. There can be no copyright claimed for 
this Opus in Germany, as it appeared years ago in 
Paris. It is to be hoped, however, that Kahnt will not 
lose by it, as he has only to bear the cost of printing — 
and in any case it is a suitable work for his shop. . — . 

To be brief— Panofka's * letter, in your last number, 
must be regarded as a mystification. In the first few 
lines a glaring falsehood, founded on facts, is con- 
spicuous, for the Societe de Ste. Cecile has been in 
existence for years, and was formerly 2 conducted by 
Seghers 3 — not to mention that Berlioz conducted the 
Socictc Philharmonique, where " many Symphonies were 
performed," for at least a season (of something like 
four years) — and then as regards Scudo, 4 it must 
appear incredible to see a man like that mentioned with 
approval in your paper. It is well known that Scudo 
has, for years past, with the unequivocal arrogance of 
mediocrity, taken up the position of making the most 
spiteful and maliciously foolish opposition, in the Revue 
des Deux Mondes (the ". Grenzboten " only gives a faint 
impression of it), to our views of Art, and to those men 
whom we honour and back up. (I can tell you more 
about this by word of mouth.) If Panofka calls that 
"persuasion and design," I give him my compliments 
... on his silliness. — 

Your views on the characteristic motives are right, 
and for my part I would maintain them very decidedly 

1 A well-known teacher of singing and writer on music (1S07-88); 
collaborator of the Ncuc Zeitschrift. 

2 1848-54. 

3 Pupil of Baillot (1S01-S1). 

1 Musical critic and journalist in Paris (1806-64). 


against the dome's attacks which they have to bear- 
yet / think it is advisable not to discuss Marx's book ] 
at present. 

Yours ever, 

F. Liszt. 

135. To Dr. Franz Brendel. 

April 1st, 1855. 

Dear Friend, 

The question of criticism through creative and 
executive artists must some time come on the tapis, and 
Schumann affords a perfectly natural opportunity for 
it. 2 By the proofs of the second article (which I thank 
you much for having corrected with the necessary 
exactitude) you will observe that I have modified 
several expressions, and have held them in more just 
bounds. Believe me, dear friend, the domain of artists 
is in the greater part guilty of our sluggish state of 
Art, and it is from this side especially that we must 
act, in order to bring about gradually the reform desired 
and pioneered by you. 

Tyszkiewicz's 3 letter gave me the idea of asking 
you to make him a proposal in my name, which cannot 
be any inconvenience to him. In one number of 
Europe Artiste he translated the article on Fidelio. 4 
Should he be disposed to publish several of my articles 
in the same paper, I am perfectly ready to let him have 

1 "The Music of the Nineteenth Century," 1855. 

- Liszt's article on Robert Schumann, " Gesammelte Schriftcn," 
vol. iv. 

;t Count Tyszkiewicz, writer on music, collaborator of the Ncne 

1 By Liszt, "Gesammelte Schriften," vol. iii., I. 


the French originals, 1 whereby he would save time 
and trouble. He has only to write to me about it ; 
for, after his somewhat capricious behaviour towards 
me, I am not particularly inclined to apply to him 
direct, before he has written to me. I am in perfect 
agreement with his good intentions ; it is only a 
question how far he is able and willing to carry them 
out, and how he sets about it. His Freischutz- 
Rodomontade is a student's joke, to which one can 
take quite kindly, but which one cannot hold up as a 
heroic feat. If he wishes to be of use to the good 
cause of musical progress, he must place and prove 
himself differently. For my part I have not the 
slightest dislike to him, only of course it seemed rather 
strange to me that, after he had written to me several 
times telling me that he was coming to see me at 
Weymar, and had also allowed Wagner to write a 
letter of introduction for him, which he sent to me, he 
should ignore me, as it were, during his long stay in 
Leipzig. This does not of course affect the matter in 
hand, and I am not in the least angry at his want of 
attention, but I simply wait till it occurs to him to 
behave like a reasonable man. 

I thank you for your tidings about Dietrich — 
although I am accustomed to expect less, rather than 
more, from people. 

On the 9th April Schumann's Genoveva will be given 
here — and I think I may venture to promise before- 
hand that the performance will be a far better one 
than that at Leipzig. 

1 Liszt's articles were, as already mentioned, written in French and 
translated into German by Cornelius. 


Fraulein Riese will tell you about the Transfiguration 
of the Lord} Of this kind there should certainly be no 
more [oratorios 2 ] composed. 

Yours in friendship, 

F. Liszt. 

136. To Anton Rubinstein. 

My dear Rubinstein, 

Gurkhaus has just sent me a copy of your 
" Persian Songs," on the title-page of which there is a 
mistake which I beg you to get corrected without delay. 
The Grand Duchess Sophie is no longer " Hereditary 
Grand Duchess," but "Grand Duchess" pure and simple, 
and I think it would not do to send her the dedicatory 
copy with this extra word. Please write therefore to 
Gurkhaus to see to it. 

In the number of the Blatter fiir Mnsik which has 
come to me I have read with great pleasure and satis- 
faction Zellner's article on your first concert in Vienna. 
It is not only very well written but thoroughly well con- 
ceived, and of the right tone and manner to maintain 
for criticism its right and its raison d'etre. I second 
it very sincerely for the just eulogy it gives to your 
works ; and, if you have the opportunity, make my 
compliments to Zellner, to whom I wrote a few lines 
the other day. This article coincides rather singularly 
with that which appeared in the Neue ZeitscJirift 
(No. II.) on Robert Schumann, in which I probed 
rather deeply into the question of criticism. If you 

1 Oratorio by Kuhmstedt. 

2 The word is missing in the original, as the corner of the letter 
is cut off. 


believe me, my dear Rubinstein, you will not long 
delay making yourself of the party ; for, for the few 
artists who have sense, intelligence, and a serious and 
honest will, it is really their duty to take up the pen in 
defence of our Art and our conviction— it matters little, 
moreover, on which side of the opinions represented 
by the Press you think it well to place yourself. Musical 
literature is a field far too little cultivated by productive 
artists, and if they continue to neglect it they will have 
to bear the consequences and to pay their damages. - 

With regard to Weymar news, I beg to inform you 
that this evening Ktihmstedt's oratorio The Trans- 
figuration of the Lord will be given at the theatre, 
under the very undirecting direction of the composer. 
I cannot, unfortunately, return him the compliment he 
paid you at Wilhelmsthal—" Young man, you have 
satisfied me"; for, after having heard it at three 
rehearsals, I found no satisfaction in it either for my 
ears or my mind : it is the old frippery of counter- 
point — the old unsalted, unpeppered sausage, 

etc., rubbish, to the ruin of eye and ear ! I will try to 
leave it out in my Mass, although this style is very 
usual in composing Church music. In five or six 
weeks I hope to have finished this work, at which 1 
am working heart and soul (the Kyrie and Gloria are 


written). Perhaps I shall still find you at Vienna (or 
in the outskirts, which are charming), when I come to 
Gran in the month of July. 

If not, we shall see each other again at Weymar, for 
you owe me a compensation for your last fugue, which 
is no more to my taste than Kuhmstedt's counterpoint. 
When are you going to send me the complete works of 
Anton Rubinstein that you promised me, and which I 
beg you not to forget ? Your idea of a retrospective 
Carnival seems to me excellent, and you know how 
to write charming and distinguished pieces of that kind. 

Farewell, dear friend ; I must leave you to go and 
have a rehearsal of Schumann's Genoveva, which is to 
be given next Monday. It is a work in which there 
is something worthy of consideration, and which bears 
a strong impress of the composer's style. Among the 
Operas which have been produced during the last fifty 
years it is certainly the one I prefer (Wagner excepted 
— that is understood), notwithstanding its want of 
dramatic vitality — a want not made up for by some 
beautiful pieces of music, whatever interest musicians 
of our kind may nevertheless take in hearing them. 

A thousand cordial greetings, and yours ever, 

F. Liszt. 

Weymar. April yd, 1 855. 

When you write to me, please add your address. 
I beg you will also return my best compliments to 
Lewy. 1 

A thousand affectionate messages to Van II. from 
the Princess. 

1 Pianist in St. Petersburg ; a friend of Rubinstein's. 


137. To Freiherr Beaulieu-Marconxay, Intendant 
of the Court Theatre at Weimar.* 

Dear Baron, 

It is not precisely a distraction, still less a 
forgetfulness, with which I might be reproached as 
regards the programme of this evening's concert. The 
indications which Her Royal Highness the Grand 
Duchess condescends to give me are too precious to 
me for me not to be most anxious to fulfil at least all 
my duties. If, then, one of Beethoven's Symphonies 
does not figure in to-day's programme, it is because 
I thought I could better satisfy thus the intentions 
of H.R.H., and that I permitted myself to guess that 
which she has not taken the occasion to explain this 
time. The predilection of His Majesty the King of 
Saxony for Beethoven's Symphonies assuredly does 
honour to his taste for the Beautiful in music, and no 
one could more truly agree to that than I. I will only 
observe, on the one side, that Beethoven's Symphonies 
are extremely well known, and, on the other, that these 
admirable works are performed at Dresden by an 
orchestra having at its disposal far more considerable 
means than we have here, and that consequently our 
performance would run the risk of appearing rather 
provincial to His Majesty. Moreover if Dresden, 
following the example of Paris, London, Leipzig, 
Berlin, and a hundred other cities, stops at Beethoven 
(to whom, while he was living, they much preferred 
Haydn and Mozart), that is no reason why Weymar — 

* Autograph in the possession of Herr Hermann Scholtz, Kammer- 
virtuoso in Dresden. The addressee died in Dresden. 

VOL. I. 16 


1 mean musical Weymar, which I make the modest 
pretension of representing— should keep absolutely to 
that. There is without doubt nothing better than to 
respect, admire, and study the illustrious dead ; but 
why not also sometimes live with the living ? We 
have tried this plan with Wagner, Berlioz, Schumann, 
and some others, and it would seem that it has not 
succeeded so badly up to now for there to be any 
occasion for us to alter our minds without urgent cause, 
and to put ourselves at the tail — of many other tails ! — 

The significance of the musical movement of which 
Weymar is the real centre lies precisely in this initiative, 
of which the public does not generally understand much, 
but which none the less acquires its part of importance 
in the development of contemporary Art. 

For the rest, dear Baron, I hasten to make all straight 
for this evening by following your advice, and I will 
ask Messrs. Singer and Cossmann to play with me 
Beethoven's magnificient trio (in Bb — dedicated to the 
Archduke Rudolph), as No. 3 in the programme. 

A thousand affectionate compliments, and 

Yours ever, 

F. Liszt. 

Monday, May 2\st, 1855. 

138. To Anton Rubinstein. 

My dear Rubinstein, 

On my return from the Musical Festival at Dussel- 
dorf, where I hoped to meet you, I found the parcel of 
auvres choisies and the portrait, which is very successful, 
of Van II. I hasten to give you my best thanks 


for this first sending, begging you not to forget your 
promise to complete, in the course of their publication, 
the collection of your works, which have for me always 
a double interest of Art and friendship. This morning 
we had a taste, with Singer and Cossmann, of the Trio 
in G minor, of which I had kept a special recollection — 
and afterwards Princess Marie Wittgenstein (who com- 
missions me to give all her thanks to you, until she 
can have the pleasure of giving them to you in person) 
demanded the pieces dedicated to her y which had complete 
success. A propos of dedications, the Grand Duchess 
Sophie is enchanted with the " Persische Lieder" 
[" Persian Songs "], and this she has probably already 
intimated to you. Shortly before her departure for 
Dusseldorf she sang several of them over again, taking 
more and more liking to them. Decidedly the first 
impression that these " Lieder " made on me, when you 
showed them to me, and when I begged you to publish 
them without delay, was just, and I have not been 
deceived in predicting for them a quasi-popular success. 
Mdlle. Genast, who has returned from Berlin, tells me 
that she made a furore there with "Wenn es doch 
immer so bliebe ! " [" Oh, could it remain so for ever ! "] 
But, unfortunately, as an older song has it, " it cannot 
remain so for ever under the changing moon ! " The 
last time I was passing through Leipzig (where they 
gave my "Ave Maria" exceedingly well at the Catholic 
Church), I told Gotze to appropriate to himself three 
or four of your u Persische Lieder," which he will sing 
splendidly ; and, as he comes here pretty often, I will 
beg him to give us the first hearing of them at some 
Court concert. The Grand Duchess Olga is expected 


for the day after to-morrow ; and if, as is probable, 
they treat her to a little concert, I shall take advan- 
tage of the opportunity to make her become better 
acquainted with the Trios you dedicated to her, and 
which I consider as among your best works. In the 
parcel I noticed the absence of " L Album de Kamennoi- 
Ostrow," which I should like to make known, or, better 
still, to offer from you to H.I.H. the Dowager Grand 
Duchess, and which I want you to send me for this 

If by chance you pass through Bonn, do not forget 
to go and see Professor Kilian, who has been in- 
terested in you from very old times, and with whom we 
talked much of you and your works during the journey 
from Cologne to Dusseldorf. 

Write me word soon what you are doing now. I, 
for my part, shall spend the summer at Weymar, up 
to the time of my journey to Gran (June — August). 
I count on your promise to come and see me in the 
autumn, unless your road should lead you into these 
parts sooner. You may be very sure of being always 
most welcome at the Altenburg — and, even if a number 
of those holding our musical opinions should meet 
still less often than in the past, that would not in any 
way influence the very sincere feelings of friendship 
and esteem which I bear towards you and keep towards 
you invariably. When we see each other again, you 
will find my Divina Commedia pretty far advanced ; 
1 have sketched a plan of it (a Symphony in three 
parts : the two first, " Hell " and " Purgatory," ex- 
clusively instrumental ; the third, " Paradise," with 
chorus) : but I cannot set myself entirely to this work 


until I have finished the new score of my choruses 
from Herder's Prometheus, which I am rewriting in 
order to have it printed shortly after the publication 
of my Symphonic Poems, six of which will come out 
next October. 

I am very curious to see what your new case of 
manuscripts will contain. Have you set to work on 
" Paradise Lost " ? I think that would be the most 
opportune work for taking possession of your fame 
as a composer. 

A thousand cordial expressions of friendship, and 

Yours ever, 

June yd, 1855. F - LJSZT. 

139. To Dr. Franz Brendel. 

[Weimar, June 1855.] 

Dear Friend, 

Best thanks for your munificence. The weed 1 
is very welcome, and you will have to answer for it 
if it induces me to importune you with some more 
columns. Meanwhile I send you the proofs of the 
second Berlioz article, together with a fresh provision 
of manuscripts, and with the next proofs you will get 
the end. 

I will also send you very soon a report of the 
Diisseldorf Musical Festival (not by me), the author- 
ship of which I beg you to keep strictly anonymous. 
Probably he will be piquant and forcible. On the 
whole, and also in detail, the Diisseldorf Musical 
Festival can only be described as a great success, and 

1 Cigars. 


I, for my part, rejoice in this and every success 
without particularly envying it. My task is quite a 
different one, the solution of which is by no means 
troubled thereby. 

If you should by any chance have read that I am 
going to America ( ! — there are many people who would 
be glad to have me out of sight !), and that a Leipzig 
virtuoso (in Leipzig such animals as virtuosi are seldom 
to be met with !) is going to take my place here, you 
can simply laugh, as I have done, at this old canard 
— but don't say anything to contradict it in your 
paper ; such bad jokes are not worth noticing, and are 
only good as finding food for inquisitive Philistines. 
In a few days I hope to be able again to do some- 
thing serious with my work, and shall not leave 
Weymar until my journey to Hungary (at the end of 
August). Gutzkow's appointment is still in suspense, 
but is not impossible. Have you read Frau Marr's 
(Sangalli's) brochure, brought out by Otto Wigand ? 
The pages which she devotes to my w T ork here may 
perhaps interest you, and I have absolutely nothing 
to complain of in them, especially in view of the fact 
that I have not hitherto been able to go "hand in 
hand " with Marr. Marr has, moreover, according to 
what he told me, given in his resignation as artistic 
Director, 1 and one cannot get clear about the entire 
theatre-management for some weeks to come. I keep 
myself very passive in the matter, and don't fish 
in troubled waters. Thus much is certain — that if 
Weymar wants to do anything regular, it cannot do 
without my ideas and influence. About the rest I 

1 At the Weimar Court Theatre. 


don't need to trouble myself. Last Sunday we held a 
satisfactory performance of Tannhauser in honour of 
the Princess of Prussia— and next Monday the opera 
will be repeated. 

Friendly greetings to your wife from your almost too 

active fellow-worker and friend, 

F. Liszt. 

I am writing to Fraulein Riese one of these next days, 
to invite her to the performance of my Mass at Jena. 1 

140. To Dr. Franz Brendel.* 

Evers' 2 letter has amused me, and it will cost 
you but little diplomacy to conciliate the sensitive 
composer. You know what I think of his talent for 
composition. From people like that nothing is to be 
expected as long as they have not learned to under- 
stand that they are uselessly going round and round in 
what is hollow, dry, and used up. That good Flugel 3 
has also little power of imagination, although a little 
more approach to something more earnest, which has 
at least this good in itself— that it checks a really too 
naive productiveness. ... His letter on the Diisseldorf 
Musical Festival is again a little bit of Barenzucker \ 
(reglisse in French), and W.'s article in comparison 

1 The Mass for male voices was performed there in the latter half 
of June. 

* The first sheet of the original is missing. 

z Doubtless Carl Evers (1819-75), composed Sonatas, Salon pieces, 


3 Music writer and composer ; at that time teacher in a school at 
Neuwied ; now organist at the Castle at Stettin. 

j Liquorice. 


with it quite a decent Pate Regnault. When we see 

each other again I will make this difference clear to 

you — meanwhile make the Rhinelanders happy with 

the latter, and don't be afraid of the whispers which 

it may perhaps call forth; for, I repeat, it contains 

nothing untrue or exaggerated, and in your position 

of necessary opposition it would be inconsistent if you 

were to keep back views of that kind from the public. 

With the most friendly greeting, your 

F. Liszt. 
June \6fh, 1S55. 

My Mass for male voices and organ (published by 
Hartel two years ago) will be given next week at the 
church in Jena. As soon as the day is fixed I will let 
Fraulein Riese know. 

Once more I recommend you to keep the W. article 
strictly anonymous. 


Dear Singer, 

If I write but seldom to my friends there is, 
besides other reasons, one principal cause for it, in that 
I have but seldom anything agreeable or lively to tell 
them. Since your departure very little has happened 
here that would interest you. One half of our colleagues 
of the Ncu-Weymar-Vercin [New Weymar Union] is 
absent— Hoffmann in Holland, Preller in the Olden- 
burg woods, Pruckner and Schreiber at Goslar, etc., 
etc. — so that our innocent reunions (which finally take 
place in the room of the shooting-house) are put off for 

:: Leader of orchestra. 


several weeks. Cornelius is working at a Mass for men's 
voices — on the 15 th of August we shall hear it in the 
Catholic Church. I, on my side, am working also at a 
Psalm (chorus, solos, and orchestra), which will be ready 
by your return, in spite of all interruptions which I 
have to put up with by constant visits. An excep- 
tionally agreeable surprise to me was Hans von Billow, 
who spent a couple of days here, and brought with him 
some new compositions, amongst which I was particu- 
larly pleased with a very interesting, finely conceived, 
and carefully worked-out Reverie fantastique. Until the 
15th of August (when his holidays end) he remains in 
Copenhagen, where he will certainly meet with a friendly 
reception. Perhaps next summer you would be inclined 
to go there. You would find it a very pleasant neigh- 
bourhood, and many pleasant people there, who have 
also been agreeably remembered by me. If I had 
time, I would gladly go there again for a couple of 
weeks, to find a little solitude in the Zoological Gardens 
and to forget somewhat other bestialities. % This satis- 
faction is not so easily attainable for me elsewhere. 

I envy you immensely about Patikarius 1 and Ket- 
skemety. 2 This class of music is for me a sort of opium, 
of which I am sometimes sorely in need. If you should 
by chance see Kertbeny, who has now obtained a logis 
honoraire, please tell him that my book on the Gipsies 
and Gipsy Music is already almost entirely translated 
by Cornelius, and that I will send it to him by the 
autumn. But beg him at the same time not to write to 

* Probably a play on the words Thiergarlen (beast-garden) and 

1 - Hungarian gipsy orchestras. 


me, as it is impossible for me to start a detailed corre- 
spondence with K. 

I sent the pianoforte arrangement (with the voices) 
yesterday to Herr von Augusz, with the request that 
he would present them, when he had an opportunity, 
to His Eminence Cardinal Scitowsky. The Mass l will 
not take up an excessively long time, either in perform- 
ance or studying. But it is indispensable that I should 
conduct the general rehearsal as well as the performance 
myself; for the work cannot be ranked amongst those 
in which ordinary singing, playing, and arrangement will 
suffice, although it offers but small difficulties. It is a 
matter of some not usual trifles in the way of accent, 
devotion, inspiration, etc. 

When are you coming back, dear Singer ? Only 
bring home with you an orderly packet of manuscripts, 
that is to say to Weymar, where I hope that you will 
feel yourself more and more at home. 

The members of our Club who are still here send 
you the most friendly greetings by me, to which I add 
a cordial " auf baldigcs Wiedersehen " [" May we soon 
meet again ! "]. 

Yours ever, 

August ist, 1 85 5. F. Liszt. 

P.S. — Joachim is going to make a walking tour in 
Tyrol. I hope he will come and see us on his return. 
Berlioz proposes to give some concerts in Vienna and 
Prague next December. I shall probably postpone 
my journey to Wagner (at Zurich) until November. I 
shall remain here for the next few months, in order to 
write several things in readiness for the winter. 
1 Liszt's Graner Mcssc. 


142. To Bernhard Cossmann in Baden-Baden. 

Wilhelmsthal, August i$ih, 1855. 

Here am I really on the road to Baden-Baden, 
dear friend ; but that does not advance matters at all, 
and in spite of myself I must resign myself to remain 
en route. To-morrow morning I return to Weymar, 
where I have promised to meet my two daughters, as 
well as Mr. Daniel, 1 who has pretty well distinguished 
himself at the general competition. After passing ten 
days or so with me the girls will take up their abode 
with Madame de Biilow at Berlin, who is good enough 
to take charge of them, and Daniel will return to Paris 
to continue his studies there. I was hoping also to be 
able to spend a week or two there — but that cannot 
possibly be arranged, and on reflection I was obliged 
to limit myself to conducting the Princess Wpttgenstein] 
as far as Eisenach, whence she has continued her 
journey to Paris with her daughter (with the special 
view of seeing the exhibition of pictures there) ; and 
for my exhibition I shall content myself with that to the 
north, which I can enjoy from the windows of my 
room ! — This picturesque solemnity is almost up to the 
height of the musical solemnities of Baden which you 
describe to me in such bright and lively colours, but 
with this difference, that at Wilhelmsthal we are very 
much favoured by the element of damp, whereas at 
Baden the artists who give concerts are drained dry. 

At Weymar all the world is out of doors, and the 
town is pretty full of nothing, offering to the curiosity 
of travellers only the trenches and practical circum- 

1 Liszt's son. 


vallations in honour of gas-lighting which they are 
going to start in October. Singer is bathing in the 
Danube (at Ofen), and tells me he shall be back by the 
I Oth of September ; Raff is promenading amid the rose 
and myrtle shrubberies of his " Sleeping Beauty " at 
Wiesbaden ; Stor is returning with his pockets full 
of new nuances which he has discovered at Ilmenau, 
where he has composed (as a pendant to my Symphonic 
Poem) lt Ce qu'on entend dans la vatte'e " ! * Preller 1 has 
found beautiful trees in the Duchy of Oldenburg which 
serve him as a recovery of the " Recovery " ; t Martha 
Sabinin 2 is haunting the "Venusberg" in the neigh- 
bourhood of Eisenach in company with Mademoiselle 
de Hopfgarten ; Bronsart 3 is gone to a sort of family 
congress at Konigsberg ; and Hoffman 4 is running 
through Holland and Belgium to make a scientific 
survey of them ; whilst Nabich is trying to gain the ears 
of England, Scotland, and Ireland with his trombone ! 

I, for my part, am in the midst of finishing the 
13th Psalm (for tenor solo, chorus, and orchestra), 
How long wilt Thou forget me, O Lord ? " which you 
will hear this winter; and I shall not leave Weymar 
till November to go and pay a few days' visit to Wagner 
at Zurich. 

* "What is heard in the valley." Liszt's work bears the title " Ce 
qu'on entend sur la montagne" ("What is heard on the mountain ). 

1 Friedrich Preller, the celebrated painter of the Odyssey pictures. 

f Or a "recreation of the Recreation." 1 do not know which 
is meant. The original is " qui lui servent d'Erholung von der 
' Erholung.' " — Translator's note. 

- A pupil of Liszt's, a Russian. 

:J Hans von Bronsart, Liszt's pupil, now Gcneral-lntcndant at 

1 Hoffmann von Fallersleben, the well-known poet. 


Don't altogether forget me, my dear Cossmann, in 
the midst of your solemnities — 1 

143. To August Kiel, Court Conductor in 

I have been prevented until now, by a mass of 
work and little outings, from sending you my warmest 
thanks for your kind forwarding of the opera text of 
Sappho, and I beg that you will kindly excuse this 
delay. The manner in which Rietz's composition to the 
Schiller dithyramb is to be interwoven with the poem I 
cannot venture fully to explain. I confess also that the 
dramatico-musical vivifying of the antique is for me 
a sublime, attractive problem, as yet undecided, in the 
solution of which even Mendelssohn himself has not 
succeeded in such a degree as to leave nothing further 
to be sought for. Some years ago Sappho (in three 
acts — text by Augier, music by Gounod) was given 
at the Paris Opera. This work contains much that is 
beautiful, and Berlioz has spoken of it very favourably 
in the Journal des Debate. Unfortunately it did not 
appear in print, and up to the present time no other 
theatre has performed it, although it made a sensation 
in Paris and ensured a first-rate position to the com- 
poser. If it would interest you, dear sir, to get to 
know the score, I will willingly write to Gounod and 
beg him to give me the work to send to you. 

I have repeatedly heard the most gratifying tidings 

' The end of the letter was lost. 

* Autograph (without address) in the possession of M. Alfred Bovet, 
of Valentigney. The contents lead to the conclusion that the above 
was the addressee (1813-71). 


of the sympathy and care which you bestow in Detmold 
upon the works of Wagner and Berlioz. Regardless 
of the many difficulties, opposition, and misunderstand- 
ings which meet these great creations, I cherish with 
you the conviction that " nothing truly good and 
beautiful is lost in the stream of Time," and that 
the pains taken by those who intend to preserve the 
higher and the divine in Art do not remain fruitless. 
In the course of this autumn (at the end of November 
at latest) I am going to see Wagner, and I promise to 
send you from Zurich a little autograph from his hand. 
I would gladly satisfy your wish sooner, but that the 
letters which Wagner writes to me are a perfectly 
inalienable benefit to me, and you will not take it amiss 
if I am more than avaricious with them. 

Accept, my dear sir, the assurance of my highest 
esteem, with which I remain 

Yours most truly, 

F. Liszt. 

Wey.aiar, September 8th, 1855. 

Enclosed are Berlioz' letter and the manuscript of 

144. To Moritz Hauptmann. 1 

Very dear Sir, 

By the same post I send you, with best and 
warmest thanks for your friendly letter, the volume 
of Handel's works which contains the anthems. The 

1 The celebrated theorist and cantor of the Thornaskirche in Leipzig 
(1 792- 1 868). 


second of them, " Zadok the Priest and Nathan the 
Prophet anointed Solomon King," is a glorious ray of 
Handel's genius, and one might truly quote, of the 
first verse of this anthem, the well-known saying, 
" C est grand comme le monde" — * 

The cantata L' Allegro, il Pensieroso, etc., enchants 
me less, yet it has interested me much as an important 
contribution to imitative music ; and, if you will kindly 
allow me, I want to keep the volume here a few days 
longer and to send it back with the two others. 

I agree entirely, on my side, with your excellent 
criticism of Raimondi's triple oratorio. 1 There is 
little to seek on that road, and still less to find. The 
silver pfennig (in the Dresden Art-Cabinet), on which 
ten Pater Noster are engraved, has decidedly the advan- 
tage of harmlessness to the public over such outrages 
to Art, and the Titus Livius, composed by Sechter, will 
probably have to moulder away very unhistorically as 
waste-paper. Later on Sechter can write a Requiem 
for it, together with Improperias over the corruption 
of the taste of the times, which have found his work 
so little to their taste. 

With the pleasant expectation of greeting you soon 
in Leipzig, and of repeating to you my best thanks, 
I remain, my dear sir, with the highest esteem, 

Yours truly, 

F. Liszt. 

Weymar, September 28//1, 1S55. 

* " It is as great as the world.*' 

1 Joseph, an oratorio by the Roman composer, consisting of three 
parts, which was given with great success in the Teatro Argentina in 
Rome in 1S52. 


145. To Eduard Liszt. 

I have just received your last letter, dearest 
Eduard, and will not wait till Vienna to give you my 
warm thanks for your faithful friendship, which you 
always prove to me so lovingly on all possible occasions. 
The Mozart Festival seems to me now to have taken 
the desired turn — that which I suggested from the 
beginning — and to shape itself into a festival of " con- 
cord, harmony, and artistic enthusiasm of the combined 
Art-fellowships of Vienna." 1 

It is to be hoped that I shall not stick fast in my 
task, and shall not let this opportunity go by without 
attaining the suitable standpoint in Vienna. 

Meanwhile I rejoice at the satisfactory prospects 
which present themselves for the Mozart Festival, and 
greet you heartily. 

F. L. 

Berlin, December 3rd, 1855* 

You will have the most favourable news from Berlin. 

146. To Frau Meyerbeer in Berlin. 2 


Your gracious lines only reached me at the 
moment of my leaving Berlin, so that it was no longer 

1 Liszt was invited by the magistrate of the city of Vienna to 
conduct two concerts on the 27th and 28th of January, 1856, for the 
celebration of the centenary of Mozart's birth. 

2 The wife of the composer of the Huguenots (1791-1864), with 
whom Liszt stood all his life in such friendly relations that it is very 
extraordinary that there are no Liszt letters extant among Meyerbeer's 


possible for me to avail myself of the kind permission 
you were good enough to give me. Nevertheless, as 
it is to be presumed that neither the brilliant departure 
of which I was the hero a dozen years ago, nor the less 
flattering dismissal with which the infallible criticism 
of your capital has gratified me this time, will prevent 
me from returning from time to time, and without too 
long an interval, to Berlin (according to the require- 
ments of my instructions and of my artistic experi- 
ments), I venture to claim from your kindness the 
continuation of your gracious reception, and thus 
venture to hope that the opportunity will soon arise 
for me to have the honour of renewing viva voce, 
Madame, the expression of my respectful homage. 
Your very devoted servant, 

F. Liszt. 

Weymar, December 14th, 1855. 

The Princess Wittgenstein is much pleased with 
your remembrance, and would be delighted to have 
the opportunity of thanking you personally. 

147. To His Worship Dr. Ritter von Seiler, 
Mayor of the City of Vienna, etc.* 

Your Worship and dear Mr. Mayor, 

The willingness which I had already expressed, 
at the first mention of the impending Mozart Festival, 
becomes to me, by your kind letter of the 19th of De- 
cember (which I only received yesterday, owing to the 
delay from its having gone to Berlin), a duty, which it 

* Autograph in the possession of M. Alfred Bovet, of Valentigney. 
VOL. I. 17 


is equally my honour and pleasure to fulfil. With the 
utmost confidence and conviction that the resolution 
of the Town Council will meet with the fullest assent 
and most gratifying recognition among all circles of 
society — the resolution is as follows : " That all under- 
takings in connection with the Mozart Secular Festival 
shall be conducted and carried out in the name of the 
city of Vienna/' — and in agreement with the honour- 
able motives of the Town Council "to lend to the 
festivities the worthy and higher expression of universal 
homage," I, for my part, undertake with the most 
grateful acknowledgments the commission to conduct 
the Festival Concert on the 27th January, 1856, and 
its repetition on the 28th according to your desire ; 
and I hope to fulfil quite satisfactorily every just claim 
which is made on the musical director of such a 

Although the excellent orchestra, chorus, and staff 
of singers in Vienna — long intimate with Mozart's 
works — afford the complete certainty of a most admir- 
able performance, yet I think it is desirable that I 
should come a couple of weeks before the concert is 
to take place, in order to have time for the necessary 
rehearsals ; and immediately on my arrival I shall 
have the honour of paying my respects to you, dear 
Mr. Mayor, and of placing myself at the service of 
the Festival Committee. 

In the programme which has been sent to me, the 
music of which will take about three hours in perform- 
ance, I am pleased with the prospect before us, that 
the glories which Mozart unfolds in the different 
domains of Art — Symphony, Opera, Church, and Con- 


cert music — are taken into account, and that thus the 
manifold rays of his genius are laid hold of, as far 
as is possible in the limits of a concert programme. 
Whilst thoroughly agreeing with the performance of 
the different items as a whole, I have nevertheless one 
request to make — namely, that you would be good 
enough to excuse me from the performance of the 
Mozart Pianoforte Concerto which has been so kindly 
designed for me, and that this number may be given 
to some other pianist of note. Apart from the fact 
that for more than eight years I have not appeared 
anywhere in public as a pianist, and that many con- 
siderations lead me to adhere firmly to my negative 
resolve in this respect, the fact that the direction of 
the Festival will require my entire attention may prove, 
in this case, my sufficient excuse. 

Accept, Your Worship, the assurance of the high 
esteem with which I have the honour to remain, 
Dear Mr. Mayor, yours very truly, 

F. Liszt. 

Weymar, December 26th, 1855. 

148. To Eduard Liszt. 

My very dear Eduard, 

Scarcely had I returned to Weymar l when I 
again put on my travelling coat to help in Berlioz' 
concert at Gotha, which took place the day before 
yesterday — and the whole day yesterday was spent 
in rehearsals of Cellini, followed by a Court concert in 

* From the Mozart Festival at Vienna. 


the evening (in honour of H.R.H. the Prince Regent 
of Baden) ; so that this morning is the first lesiure 
moment I have had to take up my pen again and my 
position ... at my writing-table. I profit by it first 
of all to tell you how happy I am in this earnest 
intimacy, as sincerely felt as it is conscientiously con- 
sidered — this real intimacy of ideas and feelings at the 
same time — which has been cemented between us in 
these latter years, and which my stay in Vienna has 
fully confirmed. All noble sentiments require the full 
air of generous conviction, which maintains us in a 
region superior to the trials, accidents, and troubles of 
this life. Thanks to Heaven, we two breathe this air 
together, and thus we shall remain inseparably united 
until our last day ! 

I am sending you after this the document which 
serves as a basis to the Bcich-Gesellschaft* from which 
it will be easy to make out an analogous one for the 
publication of Mozart's complete works. I earnestly 
invite and beg you to carry out this project to its 

According to my ideas, the " Friends of Music in 
Austria " should constitute and set the matter going, 
and the Royal State Press should be employed for it, 
especially as one can foresee that special favours might 
be obtained from the Ministry. Probably the whole 
Festival Committee of the Mozart Celebration will also 
consent to this undertaking, in the sense that, by an 
edition of Mozart's works, critically explained, equally 
beautifully printed, and revised by a committee ap- 
pointed for it, a universally useful, lasting, and living 

* Bach Society. 


monument to the glorious Master will be formed, which 
will bring honour and even material gain to all 
Austrian lovers of music and to the city of Vienna 
itself. Without doubt, if the matter is rightly con- 
ducted, it will also pay well and be pretty easy to 
carry through. In about twelve years the whole 
edition can be completed. In the composition of the 
Committee of Revision I stipulate to call your attention 
to a few names. Spohr, Meyerbeer, Fetis, Otto Jahn, 
Oulibicheff, Dr. Hartel — among foreigners these ought 
especially to have a share in the matter ; and a special 
rubric must be given to the cost of revision. The 
work of proof-correcting, as well as the special ex- 
planations, commentaries, comparisons of the different 
editions, ought not to be expected gratis ; therefore a 
fixed sum should be applied to it. Haslinger, Spina, and 
Gloggl, being Vienna publishers, ought specially to be 
considered, and would be the best to direct the pro- 
pagation and regular sending out of the volume, which 
is to appear on the 27th of January every year. 

At Spina's you would find several volumes of the 
Bach-Gesellschaft, to which is always added a list of 
the subscribers and a statement of accounts for the 
past year. 

I advise you to keep on good terms with Zellner, 
who was the first to air the subject in his paper (after 
I had invited him to do so), and to get him into the 
proposed Committee, if the matter be taken up in 
earnest. In the Committee of Revision Schmidt (the 
librarian) and Holz must not be forgotten. With 
regard to my humble self, I don't want to be put 
forward, but simply to take my place in alphabetical 


order ; but please explain beforehand that I am ready 
to undertake any work which they may think fit to 
apportion to me. I likewise undertake to invite the 
Grand Duke of Weimar, the Duke of Gotha, etc., to 
become subscribers. 

The whole affair must bear the impress of an Art 
enterprise — and in this sense the invitation to a 
Mozart-Verein [Mozart Union] must be couched. (I 
leave you to decide whether you prefer the word Mozart- 
Gesellschaft [Mozart Society] or Mozart-Verein for the 
Publication of the Complete Works of Mozart, or any 
other title.) Together with this I repeat that certainly 
there is no need to fear any loss in this matter, but 
that probably there will be a not insignificant gain. 
This gain, according to my ideas, should be formed 
into a capital, until the edition is completed, to be then 
employed, or perhaps not till later, by the Society of 
Austrian Lovers of Music for some artistic purpose to 
be decided upon. 

. — . Be so good as to give Herr Krall the sum 
(24 florins) for the four seats kindly placed at my 
disposal for the two concerts of the Mozart Festival. 
Although I have only paid in cash six gulden of the 
amount, because the other gentlemen insisted on send- 
ing me several gulden, yet I expressly wish that the 
receipts should not be any smaller through me — any 
more than that the performance should suffer by my 
conducting ! — Therefore please don't forget the twenty- 
four gulden. 

Berlioz arrived here yesterday evening, and I shall 
be over head and ears in work with Cellini, the 
great Court concert on the 17th, and the performance 


of Berlioz' Faust in the course of next week, the 

preparations for which I have undertaken. 

Cellini I shall conduct — with the two others I only 

direct the rehearsals. 

In faithful friendship thy 

Saturday, February gfh, 1856. F. LlSZT. 

149. To Dr. von Seiler, Mayor of Vienna* 

Dear Sir, 

As it was not permitted me to see Your Wor- 
ship again at home before my departure, I venture to 
express once more in these few lines my warmest thanks 
for the very great kindness shown to me during my 
stay in Vienna, the remembrance of which will not 
fade from my grateful thoughts. 

The worthy example which you, dear Mr. Mayor, 
and the Town Council of Vienna have given on the 
occasion of the Mozart Festival, guaranteed and attained 
the desired prosperity and success of the affair. This 
example will doubtless bring forth fruit in other places, 
so that the whole artist society will owe you the most 
grateful acknowledgments for it. As regards myself 
and my modest services on that occasion, I am very 
happy to think from the kind letter signed by yourself 
and Herr Councillor Riedel von Riedenau, that what 
I did so gladly was well done — and I only cherish the 
wish that coming years may offer me an opportunity 
of devoting my poor, but seriously well-intentioned 
services in the cause of music to the city of Vienna, 
whose musical traditions shine forth so gloriously. 

* Autograph in the possession of M. Alfred Bovet, of Valentigney. 


Accept, dear sir, the assurance of high esteem with 
which I have the honour to remain 

Your most obliged 

Weymar, February 1 0.7/, 1856. *' LlSZT. 

150. To Dr. Franz Brendel. 

Dear Friend, 

Before everything else I must give you my 
warmest thanks for the manifold proofs of your 
friendship and attachment which you have given me 
lately ; especially has the article in the last number but 
one of the paper, taken from the concluding chapter 
of your musical history, truly rejoiced me, and I should 
have written you at once a couple of lines in grateful 
acknowledgment had I not been so very much engaged, 
on my return here, that I have had no leisure hour 
until now. In Leipzig I could only stay from the 
time of one train to the other, and could not go to see 
any one except Hartel, whom it was necessary for me 
to see. Scarcely had I arrived here than I had to go 
to Gotha (where I was present at Berlioz' concert), 
and the previous week we had enough to do with the 
preparations and rehearsals of Cellini and the Court 
concert. The performance this time was really capital. 
Caspari had studied his part admirably, and made a 
good thing of it ; the opera, thanks to him, made quite 
a different impression from what it did formerly, when 
poor Beck (now the proprietor of a cafe in Prague, where 
I saw him lately) had to fit himself as best he could 
into the Cellini jacket ! — Probably Pohl will send you a 
full account, and also mention the concert which took 


place the day before yesterday at the Castle. Berlioz 
conducted it, and Fraulein Bianchi very much pleased 
the nobility as well as the rest of the audience — so 
that she is again engaged for a small concert next 

In contrast to many other artists of both sexes, 
Fraulein Bianchi is well-bred, without being stupidly 
stuck up, and, in addition, a pleasant and well-trained 
singer whom one can safely recommend. 

The few lines which she brought me from you were 
her best introduction to me — only I will beg you, another 
time, not to be in doubt as to " whether I still think of 
you with the old friendship." Once for all, you may 
be perfectly certain on this point, that I shall not 
develop any talent for Variations towards you, but be 
always ready to give a proof, on every opportunity, 
of how highly I prize your services in matters musical, 
and how sincerely friendly I am to you personally. 

F. Liszt. 

February igth, 1 856. 

Next Sunday Lohengrin will be given (with Fraulein 
Marx from Darmstadt as Ortrude)— and on Thursday, 
the 28th February, the entire Faust of Berlioz. 

151. To Dionys Pruckner in Vienna. 1 

Dearest Dionysius, 

The joyful tidings of your success ever find the 
most joyful echo in Weymar, and I thank you much 
for the pleasant tidings in your letter. Haslinger, on 

1 Liszt's pupil ; has been a professor at the Stuttgart Conserva- 
torium since 1858. 


his side, was so kind as to write me a full account 
of your first concert, as well as the Court soiree at 
H.R.H. the Archduchess Sophie's — and yesterday even- 
ing v. Dingelstedt gave me also full details of your 
concert ravages in Munich. All this plainly shows dass 
man Bock-Bier trinken kann, oJiue deswegen Bo'ckc zu 
schiessen ! * 

I entirely approve of your intention of spending 
some months in Vienna and its charming environs — 
also of your closer intercourse with the Master Czerny, 
whose many-sided musical experiences may be of the 
greatest use to you practically and theoretically. Of 
all living composers who have occupied themselves 
especially with pianoforte playing and composing, I 
know none whose views and opinions offer so just an 
experience. In the twenties, when a great portion of 
Beethoven's creations was a kind of Sphinx, Czerny 
was playing Beethoven exclusively, with an understand- 
ing as excellent as his technique was efficient and 
effective ; and, later on, he did not set himself up 
against some progress that had been made in technique, 
but contributed materially to it by his own teaching 
and works. It is only a pity that, by a too super- 
abundant productiveness, he has necessarily weakened 
himself, and has not gone on further on the road of 
his first Sonata (Op. 6, A^ major) and of other works 
of that period, which I rate very highly, as compositions 
of importance, beautifully formed and having the noblest 
tendency. But unfortunately at that time Vienna 
influences, both social and publishing, were of an 

* A play on words: that one ma)- drink "Bock" beer, without 
thereby making blunders. 


injurious kind, and Czerny did not possess the neces- 
sary dose of sternness to keep out of them and to 
preserve his better ego. This is generally a difficult 
task, the solving of which brings with it much trouble 
even for the most capable and those who have the 
highest aims. 

When you see Czerny remember me to him as his 
grateful pupil and devoted, deeply respectful friend. 
When I pass through Vienna this summer, I shall 
rejoice to have a couple of hours with him again. I 
shall probably find you still there. According to what 
has been written to me, the consecration of the Gran 
Cathedral will take place at the beginning of September, 
in which case I shall start from here at the beginning 
of August. 

Excuse me for not having been willing to send you 
the orchestral parts to the Turkish Capriccio. It seemed 
to me, on the one hand, unsuitable to ask Hans for 
it — apart from the fact that the sending of the parts 
backwards and forwards from Berlin to Vienna is very 
roundabout — and, on the other hand, I could not but 
suppose that you would find first-rate copyists in 
Vienna, who would do the copying for you far better 
in a fortnight. Principles of economy are utterly worth- 
less in copying, and, if you will believe my experience, 
always choose therefore the best, and consequently 
most expensive, copyists for transcribing the parts that 
you want. Recommend them, into the bargain, to do 
them with great care, and to add the cues (which are 
a great help towards a good performance). 

Bronsart wrote to you at my direction, to let you 
know in good time that you should get the parts copied 


out in Vienna yourself, and should look them over 
carefully with the copyist before the rehearsal — a work 
which I have often done in earlier years, and in which I 
generally make a rule of not sparing myself. 

Please find out for me at Spina's, on a convenient 
opportunity, how far the engraving of the Schubert 
Fantasia 1 (instrumented by me) has progressed, and 
whether he can soon send me the proofs. Bronsart 
played the Fantasia with orchestral accompaniment 
lately at Jena. 

Fare you well, dearest Dionysius, and send soon 
some good tidings of yourself to 

Yours in all friendship, 

F. Liszt. 

Weymar, March 17 1//, 1856. 

152. To Breitkopf & Hartel. 

Dear Sir, 

Whatever fate may be in store for my Sym- 
phonic Poems, however much they may be cut up and 
pulled to pieces and found fault with through their 
performances and reviews everywhere, yet the sight 
of the beautiful manner in which these first six numbers 
are published and got up will always be a pleasant 
satisfaction to me, for which I give you my warmest 
and heartiest thanks. . — . The two scores still wanting 
(Nos. 1 and 9) I will send you at the end of this 
month, and will request you to publish them in the same 
size and manner. Although there is somewhat of the 
speculative in these things, yet [I] by no means seek 

1 Fantasia in C major, on the. Wanderer. 


to make a speculation of it, and only expect your 
friendly favour in so far as a favourable pecuniary 
result may arise from it in future years. I am expect- 
ing next time the proofs of the two-piano arrangements, 
and you shall receive the two remaining piano arrange- 
ments at the same time as the two last scores. . — . 

In the matter of the Handel-Gesellschaft* the scheme 
of which you have sent me, pray be assured of my 
most complete readiness. The choice of Messrs. 
Hauptmann, Dehn, Chrysander (Otto Jahn ?), as the 
musical directors proper, I consider thoroughly suitable 
— as also of Messrs. Gervinus and Breitkopf and Hartel 
as members of the committee — and, as soon as the 
pecuniary basis of the undertaking is fixed, I shall 
not fail to get you some subscriptions, as I did for the 
Bach - Gesellsch aft. 

With warm thanks and esteem, 

Yours very truly, 

F. Liszt. 

Weymar, May l$th, 1856. 

If. it is possible to you to send me soon the proofs 
of the five piano arrangements I shall be glad, as they 
make the comprehension and spread of the scores 

153. To Louis Kohler. 

Dear Friend, 

After I had seen about your commission to 
Dr. Hartel, and he had sent me your Mc'thodc, 1 I 

* Handel Society. 

1 Systematic method of teaching for pianoforte playing and music, 
1857 and 1858. 


delayed writing to you, because the result (favourable, 
as might be expected) of the little business had been 
already communicated to you through Hartel, and 
I wished at the same time to send you somewhat 
of my wares. Unfortunately, I have been hindered 
by multifarious occupations from getting through the 
proofs of my Symphonic Poems quickly ; and, besides 
this, these proofs have taken up a great deal of my 
time ; for although I had not omitted, in the first proofs, 
to have things altered in the scores many times, yet 
many things looked different to me in print from what 
I wished them to be, and I had to try them over again 
plainly with the orchestra, have them written out again, 
and ask for fresh proofs. At last the six first numbers 
have come out, and even if they are very badly done 
I can no longer do them otherwise or better. No 
doubt you have already received from Hartel the copy 
destined for you, and within a short time you will 
receive the somewhat freely arranged pianoforte edition 
— for two pianos — of the same things. I tried at first 
a four-hand arrangement of them, which would be 
much more practicable for sale, but gave up this 
mutilation, as I saw that in four-hand pieces the working 
into one another of the hands stands too much in 
the way of my tone-picture. The two-piano arrangement 
sounds passable, if I mistake not. Billow, Bronsart, 
Pruckner, etc., have played it several times, and you 
will assuredly find in Konigsberg a partner (masculine 
or feminine) who will beguile ycu into it. I shall be 
very glad if the things please you somewhat. I have 
laboured too much in order to realise the requisite pro- 
portion and harmony, for them to be able to give me any 


other pleasure if some sympathy, and also some under- 
standing of the spirit of them on the part of my few 
friends, does not fall to my share. However that may 
be, tell me, dear friend, quite candidly, without any com- 
pliments, what impression the pieces have made on you. 
The three numbers which will appear next are still 
longer, worse, and more venturesome. But I cannot let 
matters rest there, for these nine numbers serve only 
as Prolegomena * to the Faust and Dante Symphonies. 
The former is already settled and finished, and the 
second more than half written out. "Away, away/'f 
with Mazeppa's horse, regardless of the lazy hack 
that sticks in the mud of old patterns ! 

Let me soon hear from you how you dispose of your 
time in Konigsberg. In Frau Knopp you have got 
an excellent Ortrude. What have you been giving 
this winter ? Do you keep on a good understanding 
with Marpurg ? Is Pabst remaining in K. ? 

Don't forget also to let me have your Mcthodc (I 
forget the exact title) through H artel. Although I 
have grown too old and too lazy to improve my piano- 
playing, yet I will get some good out of it for my 
pupils, amongst whom are two or three really brave, 
earnest fellows. Beyond that I have very little to tell 
you of Weymar. Since Berlioz' stay here, which gave 
occasion for the LitohT cudgel-smashing newspaper 
rubbish, Carl Formes and Johanna Wagner have been 
playing here ; the latter with well-deserved and extra- 
ordinary success in Gluck's Orpheus and Iphigenia 
in Aulis (in Wagner's translation and arrangement). 
This evening the Sleeping Beauty (a fairy-tale epic), 

* Prologue, preface. f Written in English. 


by Joachim Rafif, will be given. According to my 
opinion, this is Raff's most successful and grateful 

Farewell, dear friend, and bear in friendly remem- 

Your very sincere and obliged 

F. Liszt. 

Weymar, May 24/7/, 1S56. 

154. To Louis Kohler. 

My very dear Friend, 

At last I have come out of my " Purgatory " — 
that is to say that I have come to the end of my 
symphony to Dante's Divina Commedia. Yesterday 
I wrote the final bars of the score (which is somewhat 
smaller in bulk than my Faust Symphony, but will take 
pretty nearly an hour in performance) ; and to-day, 
for rest and refreshment, I can allow myself the pleasure 
of giving you my friendliest thanks for your friendly 
letter. The dedication of your work " Systematic 
Method of Teaching for Pianoforte Playing and Music " 
(the latter must not be forgotten !) pleases me much, 
and you will allow me to take a modest revanche 
[revenge] shortly, in dedicating one of my latest works 
to you. Probably Schlesinger will bring out several 
books of my songs next winter, in which you will 
perhaps find much that is in sympathy with your ideas 
of the melody of speech. Hence I wish that you would 
not refuse me the pleasure of using your name in con- 
nection with them, and of letting it precede them, as 
an interpretation, as it were, of the intention of the 


Hartel will send you in a couple of days the first 
seven numbers of the arrangements for two pianofortes 
of my Symphonic Poems which have already appeared. 
An arrangement of that kind is not so easy to make 
use of as a four-hand one. Nevertheless, after I had 
tried to compass the score of Tasso plainly into one 
pianoforte, I soon gave up this project for the others, 
on account of the unadvisable mutilation and deface- 
ment by the working into and through one another 
of the four-hand parts, and submitted to doing without 
tone and colour and orchestral light and shade, but at 
any rate fixing an abstract rendering of the musical 
contents, which would be clear to the ear, by the 
two-piano arrangement (which I could arrange tolerably 

It is a very agreeable satisfaction to me that you, 
dear friend, have found some interest in the scores. 
For, however others may judge of the things, they are 
for me the necessary developments of my inner experi- 
ences, which have brought me to the conviction that 
invention and feeling are not so entirely evil in Art. 
Certainly you very rightly observe that the forms 
(which are too often changed by quite respectable 
people into formulas) " First Subject, Middle Subject, 
After Subject, etc., may very much grow into a habit, 
because they must be so thoroughly natural, primitive, 
and very easily intelligible." Without making the 
slightest objection to this opinion, I only beg for per- 
mission to be allowed to decide upon the forms by the 
contents, and even should this permission be withheld 
from me from the side of the most commendable 
criticism, I shall none the less go on in my own modest 

VOL. I. 18 


way quite cheerfully. After all, in the end it comes 
principally to this — what the ideas are, and how they 
are carried out and worked up — and that leads us 
always back to the feeling and invention, if we would 
not scramble and struggle in the rut of a mere trade. 

When is your Method of teaching coming out? I 
rejoice beforehand at all the incitement and forcible 
matter contained in it. You will shortly receive a 
circular with a letter from E. Hallberger (Stuttgart), 
who asks me to undertake the choice of pieces to 
appear in his edition of the " Pianoforte." Do send 
something soon to it ; it is to be hoped that the 
establishing and spreading of this collection will prove 
quite satisfactory. 

Fare you well in your work, dear friend, and think 
affectionately of 

Yours ever sincerely, 
Weymar, /w/y 9//?, 1856. F. Liszt. 

P.S. — In your next letter send me your exact 

155. To Hoffmann von Fallersleben. 1 

Dear Friend, 

In your * pleasant villeggiatura, where you will 
find no lack of the Beautiful and Good, let yourself 
also be welcomed by a friend of the New-Weymar 

] The well-known poet (1798- 1 874), who was living at that time 
in Weimar ; was an intimate friend of Liszt, and in 1854 founded, 
with him, the Neu-Weimar-Verein, which, under the presidency of 
Liszt, was joined by all the most distinguished musicians, actors, 
authors, and painters of Weimar. 

* The second person singular is employed in this letter. 


School, who is truly yours. It is true I have nothing 
new to tell you. You already know that the Grand 
Duke received your poem on the morning of his 
birthday, and said the kindest things about it to me 
later on. Most of our colleagues of the Neu-Weimar- 
Verein are away and scattered in various countries ; — 
Singer in Pesth; Soupper 1 in Paris, where he is trying 
the solitude of a crowd (according to Chateaubriand's 
expression, " the crowd, that vast desert — not dessert — 
of men ") ; Stor 2 at the bathing-place Heringsdorf, 
probably drawn there by a secret affinity between his 
herring form and the name of the place ; Winterberger 
in Holland, to inspect the Haarlem and other organs, 
which he will certainly do in a masterly way ; and 
Preller goes to-day to Kiel. On the Altenburg no 
change worth mentioning has taken place : visits of 
strangers to me fail not summer or winter, and, still 
less, works which have become my life's task. I 
might almost sing, like Hoffmann von Fallersleben, 

" Hier sitz ich fest, ein Fels im Meer, 
Woran die Wellen toben ; 
's geht drunter, dran und driiber her — 
Ich bleibe fortan oben " — * 

if only there were more waves and less marsh ! — 

My travelling plans are still somewhat vacillating, 
because I cannot yet decide whether I shall go to 

1 Eugen v. Soupper, concert singer, a countryman of Liszt's, was in 
Weimar in 1855-56. 

- Music director in Weimar ; died 1889. 

* " Here firm I sit, a rock sea-girt, 

On which the waves are dashing, 
But I remain above, unhurt, 
Nor heed the waters' lashing." 


Hungary or not. In any case I shall go and see R. 
Wagner, in the middle of September at latest, at Zurich, 
where Stahr at present is with his wife (Fanny 
Lewald). Stahr will shortly publish a new volume 
of Paris Letters (about the Exhibition), and is translat- 
ing Suetonius for the Classical Library coming out at 
Stuttgart. He told me that there is a passage in 
Suetonius which one can quite apply to the baptism of 
the Prince Imperial in Paris! After this precedent, 
why might not everything in the Horce bclg. and the 
Weymar Year-Book be proved as inferring to something*? 

Remember me most warmly to your dear Amphitrion, 
whom I unfortunately did not manage to see again 
before her departure, and, if the Mildes are in the same 
house as you, give them my best greetings, woven 
into a toast. 

Fare thee well, dearest friend, and do not remain 
too long away. 

Thine in heartfelt friendship, 
Weymar, July 14th, 1856. F. LlSZT. 


Director of the Military Corps of the State 
of Prussia.* 

Dear Friend, 

I learn from several Berliners, who have passed 
through here, that you have had the great kindness 
to instrument my march " Vom Fels zum Meer"f 

* Autograph in the possession of Herr Otto Lessmann at 
Charlottenburg. The addressee (1802-72) was one of the inventors 
of the bass-tuba, and improved many of the wind instruments. 

f " From the Rock to the Ocean." 


splendidly, and have had it performed several times. 
Permit me to express my warmest thanks to you for 
this new proof of your friendship, and at the same time 
to remind you of a promise the fulfilment of which is 
very much desired by me. 

It is that, in my last visit to Berlin, you were so 
kind as to say that the Symphonic Poem Tasso would 
not be amiss arranged by you for a military band, 
and you, with your well-known readiness for action, 
expressed your willingness to arrange the instrumenta- 
tion accordingly. Allow me to-day to lay claim to 
half your kind offer, and to beg you to strike out 
forty-two pages of this long score, and so to dispose 
your arrangement that, after the last bar of page 5 
(score), you make a skip to the second bar of page 47 
(Lento assai), by this means shortening the Lamento of 
Tasso and of the public also. 


(Last bar of page 5.) 

Lento assai. 


^S ^Lf ^rrMfr 

r*^ p*>i 1 ~ -Zr -Z^ etc 

— I 1- 1 1 h-^- 

^^ J J l =^= 

Ar? 9- 


(Second bar ot page 47.) 


By the same post I send you the score and the 
piano arrangement (for two pianofortes) for convenience 
in looking it over. If the concluding figure (Letter M., 
Moderato pomposo) seems to make a better effect in 
the instrumentation by following the piano arrangement 

with the simple quaver figure 


instead of the triplets, according to the score, I have 
not the slightest objection to it, and beg you altogether, 
dear friend, to feel quite free to do as you like in the 
matter. The flattering thing for me would be just this 
— that the work should please you sufficiently for you 
to be allowed to take what liberties you wish with it. 

Some years ago Dahlmann gave a lecture at Bonn 
upon immature enthusiasm. God preserve us rather 
from untimely pedantry ! Certainly no one shall have 
to suffer from this from my side ! 

I am sending you, together with the Tasso score, 
that of Mazeppa also. Take an opportunity of looking 
at the concluding March (beginning page 89 of the 
score) : — 

(N.B — It must begin with the % chord, perhaps after 
a couple of introductory bars roll on the drum — without 
any distinct tone.) 

Perhaps the subject may suit for some occasion or 

Forgive me, dear friend, for being so pressing, and 
behold in this only the joy which the fulfilment of your 


promise will give me. Next winter I hope to give you 
my thanks in person in Berlin. 

Meanwhile accept the expression of high esteem of 
yours truly and with all friendly acknowledgments, 

F. Liszt. 

Weymar, July iSth, 1856. 

If, as I imagine, the Finale from Tasso could be so 
arranged that moderate military bands could play it 
fairly well, I should of course be glad. However I 
leave it entirely in your hands to do with it whatever 
seems best to you, and give you my best thanks before- 
hand for your kindness. 

157. to concertmeister edmund slnger. 

Dear Friend, 

In consequence of the definite decision which 
was made known to me yesterday by T. R. the Titular 
Bishop and the Cathedral Cantor Fekete, my Mass is 
to be performed on the day of the consecration. 1 I 
shall therefore get to Pest by the nth or 12th August, 
as- I had previously arranged, and shall be very glad to 
see you and two or three others of my friends again. 
I am also reckoning on you for certain as leader of the 
orchestra at the rehearsals and performance of the 
Mass. I am writing to-morrow to Winterberger, who 
is making a tremendous sensation in Holland, to beg 
him to undertake the organ part, and to be in Pest 
by the middle of August. 

While speaking of Holland, I may add that Herr 

1 Of the Cathedral of Gran. 


Vermeulen (General Secretary of the " Maatschappy " *) 
is coming to see me here early in August. This offers 
me a good opportunity of being of service to you in 
regard to your concert arrangements in Rotterdam and 
Amsterdam, etc., of which I will not fail to make use. 
More of this viva voce. Meanwhile, it would be better 
for you not to write there. 

I enclose several notes of acknowledgment for E., 
Dr. F., B. and K., to which I beg you will kindly attend. 

And now one more commission, which you can easily 
fulfil through Rosavogly, 2 with my best greetings to 
him. In my reply to the official letter of H. R. von 
Fekete yesterday I forgot to repeat that, in order to 
avoid loss of time, it is easy to have the voice parts 
(solos and chorus) written out before my arrival, and as 
carefully as possible, clean and clearly. I will willingly 
discharge the copyist's fee, and the orchestral parts I 
will bring with me together with the score, so that the 
rehearsals may begin as soon as the performers taking 
part in it are assigned to me. 

I confidently hope that we shall have a very fine 
performance, without trouble and worry, and one in 
which musicians as well as audience will find pleasure 
and edification. The length of the Mass will also fulfil 
the required dimensions, and yesterday I hunted out 
a couple of li cuts," which could be made, if necessary, 
without any essential harm to the work. You know, 
dear Singer, that I am a special virtuoso in the matter 
of making cuts, in which no one else can easily 
approach me ! — 

1 " Maatschappy tot bevordering dcr toonkunst." 

2 Music publisher in Budapest. 


I am simply not disposed, in spite of much prudent 
advice, to cut my Mass and myself altogether, all the 
less so as my friends and countrymen have on this 
occasion shown themselves so kind and good to me. 
I therefore owe it to them to give them active proof 
that their confidence and sympathy in me are not wholly 
undeserved — and with God's help this shall be irrcf rag- 
ably proved ! 

For the rest I want to keep very quiet and private 
this time in Pest. Composers of my sort write, it is 
true, plenty of drum and trumpet parts, but by no 
means require the too common flourish of trumpets and 
drums, because they are striving after a higher aim, 
which is not to be attained by publicity. 

" Auf baldiges Wiedersehen" '* dear friend — I leave 
here by the 9th August at latest. Meanwhile best 
thanks for your letter, — and 

Ever yours, 
July 28th, 1856. F. Liszt. 

158. To Joachim Raff. 1 

Dear Sir and Friend, 

It is very pleasant to me to find from your 
letter that you have taken aright the recognition in 
my article on the Sleeping Beauty, and see un- 
equivocally in its attitude a fresh proof of the high 
estimation in which I hold your artistic powers, as well 
as of my readiness to be of use to you as far as my 

* " To a speedy meeting." 

1 Raff (1822-82) lived, as is well known, for some years in Weimar 
(first of all as Liszt's secretary), and at that time joined the Liszt 
tendencies as a composer, afterwards going other ways. 


insight and loyalty in Art matters will permit me. In 
this first discussion of a work so much thought of and 
so widespread, it was most important that I should 
draw the attention of Art-fellowship to your entire 
works and higher endeavours during the past six years. 
You will still give me the opportunity, I hope, later on, 
of spreading much deserved praise and of placing more 
in the shade any chance differences in our views. If 
I have not placed you this time so completely as I 
should have wished among the musical fellowship of 
the time, like a Peter Schlemihl,* this was partly in 
consequence of your own oft-repeated advice that 
"one should not exclusively praise men and works if 
one wishes to be useful to them." x 

I do not always agree with you in this view, but 
on this occasion I hope I have hit the happy medium. 

Accept my best thanks for the friendly interest you 
have shown in rrry orchestral compositions in the con- 
cert direction of Wiesbaden. Whether I shall be able 
to comply with several invitations for concerts in the 
coming winter depends on a good many circumstances 
which I cannot quite settle beforehand. But in any 
case I shall be glad if my compositions become more 
widely spread, and perhaps during your present stay 
in Wiesbaden the opportunity may offer of conducting 
one or two numbers of the Symphonic Poems, in 
accordance with your previous intentions. 

At the end of next week at latest I set out for Gran, 
to conduct my Mass on the 31st of August (in celebra- 
tion of the consecration of the Basilica). 

* The man without a shadow — German fable. 

1 Neuc Zcitschrift fur Musik. Later " Gesammelte Schriften," vol v. 


Toward the middle of September I go to Zurich, 
where, if I am not prevented by any special hindrances, 
for which I always have to be prepared, I think of 
spending a couple of weeks with Wagner. 

Fare you well, dear Raff, and send soon some tidings 
of yourself to 

Yours most truly, 

F. Liszt. 

Weymar, July 31st, 1856. 

Hans von Billow has been with me a couple of days, 
and goes to Baden-Baden the day after to-morrow. 
Winterberger is scoring an extraordinary triumph by 
his organ-playing in Holland, and played the Prophete 
and BACH Fugue * before an audience of two thousand 
people with immense success. 

Do not forget to give my friendly greetings to 
Genast * and my homage to Mademoiselle Doris. 2 

159. To Anton Rubinstein. 

It is a very great regret to me, my dear Rubin- 
stein, to have to miss your visit the day after to- 
morrow, of which you sent me word by Mr. Hallberger. 
You know what a sincere pleasure it always is to me 
to see you again, and what a lively interest I take in 
your new works. This time in particular I am at high 
tension about the completion of your Paradise Lost. 
If the continuation and the end correspond with the 
beginning which you showed me, you have reason to 
be really and truly satisfied with yourself, and you 

* Fugue on the name of Bach. 

1 The celebrated Weimar actor, afterwards Raffs father-in-law. 

- Afterwards Raff's wife, an excellent actress. 


may sleep in peace conscious of having written a grand 
and beautiful work. 

Unfortunately, whatever curiosity I have to be quite 
assured of this, I cannot stay here any longer, and 
must start to-morrow morning for Gran, where, in 
spite of a lot of useless talk, the thread of which you 
have perhaps followed in the papers, they will end after 
all by giving my Mass on the 31st of August (the day 
of the consecration of the Basilica). You see that I 
have only just time to set the thing on foot, and cannot, 
without the risk of unpleasantness, defer my arrival 
beyond the day which, moreover, I officially fixed about 
a week ago. 

Please excuse me then, my dear Rubinstein, for my 
involuntary Fugue, and allow me to make up for it 
without too much delay. On my return from Hungary 
I shall eome through Stuttgart (towards the middle of 
September). Perhaps I shall find you still there, which 
would be a very great pleasure. We would sing 
together the choruses, solos, and orchestra of your new 
score with all our might ! And Winterberger (who has 
just had a fabulous success at Rotterdam, Haarlem, 
etc., where he has given several organ concerts largely 
attended) might also be one of the party, for I expect 
to make the journey from Zurich with him, and on our 
way we shall explore the organs of Ulm, Stuttgart, 
Friburg, and Winterthur. 

Will you let me know by a few lines what your plans 
are for the end of the summer and autumn ? Shall you 
return to Leipzig ? Will it suit you to try your 
Oratorio first at Weymar ? In this latter case, which 
you may be sure will be the most agreeable to me, I 


will try to facilitate the arrangements that have to be 
made as regards copies, and to save you the expense 
of copying. Toward the end of October, at latest, I 
shall be back here ; and, if we do not meet before, I 
count on your not letting this year elapse without coming 
again for a few days to your room at the Altenburg, 
where you are certain of being always most cordially 
welcome, for we shall make no changes. 

If you have a quarter of an hour to spare do write a 
piece of a few pages for Hallberger, without making 
him wait any longer, for I especially want one of your 
loose works to appear in the first copy of the Piano- 

The Princess bids me give you her best compliments, 
to which I add the expression of frank and cordial 
friendship of your very devoted 

F. Liszt. 

August 6th, 1856. 

Have you received my things in score ? Continue 
to address me at Weymar. 

160. To Joachim Raff. 

You would be making a great mistake if you put 
any mistrust in my conduct, and I can assure you with 
a perfectly good conscience that to me there is nothing 
more agreeable and more to be desired than to rely 
entirely on one's friends. With regard to the Wies- 
baden affair, I must necessarily await a definite invitation 
from the concert directors before I can give a definite 
answer. I think I have too often shown that I am 
ready and willing, for it to be necessary for me to say 


more on that point. I was again at Sondershausen 
last Sunday, and promised to go there again in the 
course of next winter. The orchestra there, under its 
conductor Stein (whose acquaintance I had not made 
until now), has performed two of my Symphonic 
p oems — Les Preludes and Mazeppa — with really un- 
common spirit and excellence. Should there be a 
similar willingness in Wiesbaden, it will of course be 
a pleasure to me to accept the invitation of the concert 
directors ; so also I am greatly obliged to you for being 
so helpful toward the spread and sympathetic under- 
standing of my works. But from your letter I see that 
you will not be staying much longer in Wiesbaden, 
and as I am not acquainted with the present circum- 
stances there I cannot reckon beforehand on the friendly 
reception without which public performances always 
prove very unfruitful for composers. According, there- 
fore, to whether these circumstances show themselves 
favourable or unfavourable to my honest endeavours, I 
will come, or I will remain at home. 

I give you my heartiest good wishes for the 
performance of your King Alfred} Your two Tanz- 
Capricen (bolero and valse) have been sent me by 
Hallberger, and I have already recommended a speedy 
edition of both. 

This afternoon I start for Gran. In the middle of 
September I shall get to Stuttgart and go to Zurich. 
Letters can be always addressed to me at Weymar, and 
before the end of October I shall be back here again. 

With best greetings and thanks, yours very truly, 

Weymar, August *]th, 1856. F. LlSZT. 

1 An opera of Raff's. 


161. To Anton Rubinstein. 

I much regret, dear Rubinstein, to have missed 
your visit to Weymar, and, while thanking you most 
sincerely for your kind intention, I am going to beg 
you to grant me full reparation by a second visit when 
I return. 

By the news which reaches me from the Altenburg 
I learn that you think of spending part of the winter 
in Berlin, and will there give your Paradise Lost, which 
will doubtless be a piece well found, and from which 
you will derive benefit. Please do not fail to let me 
know in good time which day it is to be performed, 
for I am set upon being present at this first performance, 
and shall certainly come to Berlin unless anything 
absolutely unavoidable prevents me. 

I expect to be back at Weymar towards the end of 
October, and to set seriously to work again, a thing 
which is not possible elsewhere. The rehearsals of 
my Mass are going on here admirably, and I expect 
we shall have a very fine performance at Gran on the 
31st, where, moreover, there will be so many other 
things and people of quite a different importance to be 
seen and heard, that they will scarcely hear three bars 
of my Mass. Happily my work has the good luck to 
have two general preliminary rehearsals, public ones, 
at Pest next week, and a final rehearsal at Gran 
itself. Zellner will probably be there, and you will 
hear about it from him. Possibly also the same Mass 
will be given on the 28th September (the day of St. 
Wenceslas, the patron saint of Bohemia) at Prague, 
whence they have just written to me to that effect. 


You will give me great pleasure, my dear Rubinstein, 
if you will write me something about your autumn and 
winter plans ; and if by chance I can be of use to you 
in any way show me the friendship of disposing entirely 
of me, as of one who is your very sincerely affectionate 
and devoted 

F. Liszt. 

Pest, August 21st, 1856. 

Address always to Weymar. 

I am still expecting to go by Stuttgart to Zurich 
towards the middle of September, but it is possible that 
Prague may occasion me a fortnight's delay. 

162. To Eduard Liszt. 

[Pest,] Friday, September $th, 1856. 

Dearest Eduard, 

Yesterday's performance of my Mass was quite 
according to my intentions, and was more successful 
and effective by far than all the preceding ones. 
Without exaggeration and with all Christian modesty 
I can assure you that many tears were shed, and that 
the very numerous audience (the church of the 
Stadtpfarrei* was thronged), as well as the performers, 
had raised themselves, body and soul, into my con- 
templation of the sacred mysteries of the Mass . . . 
and everything was but a humble prayer to the 
Almighty and to the Redeemer ! — I thought of you in 
my heart of hearts, and sought for you — for you are 
indeed so very near and dear to me in spirit ! — 

* I.e., the parish church. 


Next Monday, the 8th September, at the conse- 
cration of the Hermine-Kcipelle (which the Cardinal 
Prince Primate of Hungary will consecrate), my Mass 
for four men's voices will be sung. Winterberger will 
accompany it on a Physharmonica of the organ genus. 
On the same evening (Monday) the concert for the 
benefit of the Pension Fund will take place at the 
theatre : Singer and Pruckner will play at it, and 
two of my Symphonic Poems — Les Preludes and 
Hungaria (Nos. 3 and 9) — will be given. 

On the 14th September at latest I shall get to 
Vienna, and I will write to Haslinger more definitely 
about it. Meanwhile will you please tell Haslinger, 
as I cannot write to him until the concert in the 
Hungarian theatre is over. 

. — .1 expect to leave here before the end of next 

God be with you and with your 

F. L. 

At the rehearsal this morning I was told that you 
have got such an excellent article on the Mass in 
the ' Wanderer. I suppose you sent the number to 
Weymarl If possible let me have one here also. 

163. To Louis Kohler. 

Bravo, dear friend, for the three very graceful 
and charmingly conceived melody-dialogues ! I have 
pleasure in them, and am certain of the success of this 
charming selam* As an old laborant f at piano music 

* Meaning a musical bouquet. f Worker in a laboratory 

VOL. I. 19 



allow me merely to lay before you a slight alteration 
in the two bars before the return of the motive (No. i). 
According to my conception one bar more would have 
a beneficial effect there, thus : — 



IT"" •-1HCZZ2 g#=^=| 

If you agree with this version, write me simply Yes 
to the address of Richard Wagner, Zeltweg, Zurich. 
I shall get there next Sunday, and stay some days 
with our great friend. At the beginning of November 
I shall be back in Weymar. 

Hearty greetings from yours in all friendship, 

F. Liszt. 
Stuttgart, October Sth, 1856. 

In No. 3 (in the first two bars) the F seems to me 
the right sound in the bass, and that was what you 
had first written : — 






ra JTi r-' 


instead of: — 


j— *1 — 


Will you leave these little 'alterations to me in the 

164. To Dr. Gille, Councillor of Justice at Jena. 1 

Zurich. November 14th, 1856. 

My very dear Friend, 

I am heartily rejoiced at the honourable proof 
of the sympathy and attachment of our Circulus 
harmonicus Academiae Jenensis, which was prepared 
for me for the 22nd October by your kindness, and 
I "give you my warmest thanks for it, begging you 
to be so good as to pass them on also to our friends 
Stade and Herr Schafer, whose names strengthen the 

It touches me deeply that you join the Gran Basilica 
and my Missa Solemnis in this diploma. You may be 

1 An ardent friend of Liszt's, a promoter of musical endeavours, a 
co-founder and member of the Committee (General Secretary) of the 
Allgemeine Deutsche Musikverein, is at the head of the Liszt Museum 
in Weimar, and lives in Jena, where he is Prince's Council and 
Councillor of Justice. 

292 TO DR. GILLE. 

sure, dear friend, that I did not compose my work as 
one might put on a church vestment instead of a 
paletot, but that it has sprung from the truly fervent 
faith of my heart, such as I have felt it since my 
childhood. " Gentium, non factum " — and therefore I 
can truly say that my Mass has been more prayed than 
composed. By Easter the work will be published by 
the Royal State Printing Office at the cost of the 
Government, thanks to the kind instructions of His 
Excellency Minister von Bach, and I am looking 
forward to the pleasure of presenting one of the first 
copies to the Circulus harmonicus. The Mass has been 
given a second time at Prague since I left, and, as 
Capellmeister Skraup writes, " with increasing interest " ; 
a couple more performances, in Vienna, etc., are pending. 

Pray excuse me, dear friend, for not having sent 
you my thanks sooner. Your letter found me in bed, 
to which I am still confined by a somewhat protracted 
illness, which will delay my return to Weymar some 
weeks. Next week I am to begin to get out into the 
air again, and I hope to be able to get away in about 
ten days. At the beginning of December I shall be at 
Weymar, and shall then soon come to you at Jena. — 

I shall have a great deal to tell you verbally about 
Wagner. Of course we see each other every day, and 
are together the livelong day. His Nibelungen are an 
entirely new and glorious world, towards which I have 
often yearned, and for which the most thoughtful people 
will still be enthusiastic, even if the measure of medio- 
crity should prove inadequate to it ! — 

Friendly greetings, and faithfully your 

F. Liszt. 


165. To Dr. Adolf Stern in Dresden. 1 

Very dear Sir and Friend, 

A long and protracted illness has kept me in 
bed for a fortnight past — and I owe you many apologies 
for my delay in sending you my warmest thanks for 
the very kind remembrance with which you adorned 
the 22nd of October. The beautiful poem, so full of 
meaning, and soaring aloft with its delicately powerful 
flight, goes deeply to my heart, and my dreams hear 
the charm of your poetry through Lehel's magic horn 
tones ! Perhaps I shall be able shortly to tell you 
what I have heard, when the disjointed sounds have 
united in shaping themselves harmoniously into an 
artistic whole, from which a second part of my Sym- 
phonic Poem Hungaria might well be formed. 

Meanwhile I have ventured to send your poem to a 
couple of my friends in Pest, who will delight in it 
like myself. 

In spite of my illness I am spending glorious days 
here with Wagner, and am satiating myself with his 
N'ibelungen world, of which our business musicians 
and chaff-threshing critics have as yet no suspicion. 
It is to be hoped that this tremendous work may 
succeed in being performed in the year 1859, and 
I, on my side, will not neglect anything to forward 
this performance as soon as possible — a performance 
which certainly implies many difficulties and exertions. 
Wagner requires for the purpose a special theatre built 

1 Poet and man of letters, now professor at the Polytechnikum at 
Dresden, a member of the Committee of the Allgemeinc Deutsche 
Musikverein since 1867. 

2 94 T0 DR - ADOLF STERN. 

for himself, and a not ordinary acting and orchestral staff. 
It goes without saying that the work can only appear 
before the world under his own conducting ; and if, as is 
much to be wished, this should take place in Germany, 
his pardon must be obtained before everything. — I 
comfort myself with the saying, "What must be will 
be ! " And thus I expect to be also standing on my 
legs again soon, and to be back in Weymar in the 
early days of December. It will be very kind of you 
if you will not let too long a time elapse without coming 
to see me. For to-day accept once more my heartfelt 
thanks, and the assurance of sincere friendship of your 

F. Liszt. 

Zurich, November 14th, 1856. 

166. To Louis Kohler. 

Enclosed, dear friend, is a rough copy of the 
Prelude to Rheingold, which Wagner has handed me 
for you, and which will be sure to give you great 

After having been obliged to keep my bed for a 
couple of weeks, which has lengthened out my stay 
here, I am now making ready to go with Wagner the 
day after to-morrow to St. Gall, there to conduct a 
couple of my Symphonic Poems with a very respect- 
able orchestra (twenty violins, six double basses, etc.). 
Toward the middle of December I shall be back in 
Weymar, and shall continue to write my stuff! — 

A thousand friendly greetings. 

F. Liszt. 

Zurich, November 21st, 1S56. 


167. To Eduard Liszt. 

St. Gall, November 24th, 1856. 

. — . A really significant concert took place 
yesterday at St. Gall. Wagner conducted the Eroica 
Symphony, and I conducted in his honour two of my 
Symphonic Poems. The latter were excellently given 
— and received. The St. Gall paper has several 
articles on the subject, which I am sending you. 

By Christmas I will send you the new copies of my 
Mass (which I think I have considerably improved in 
the last revision, especially by the concluding Fugue of 
the Gloria and a heavenward-soaring climax of the 



et u-namsanctamcatho-li-camet a-po - sto - - - - li-cam 

Probably the work will be ready to appear by Easter. 
If you write by return of post, you can send the 
ministerial answer to my letter to Bach to me here. 
The contents, of w r hich you have told me, please me 
much, and I reckon with confidence that the publishing 
of the score will fix the sense and meaning of my work 
in public opinion. The work is truly " of pure musical 
water (not in the sense of the ordinary diluted Church 
style, but like diamond water) and living Catholic wine" 

• — • Farewell, dearest Eduard, and remain true to 
me in heart and spirit, as is also to you your 

F. Liszt. 


168. To Alexander Ritter, Music Director in 

Munich, December 4th, 1S56. 

Dear Friend, 

I received your letter on a day when I again 
greatly missed your presence. We were together with 
Wagner at St. Gall, and the Musical Society there had 
distinguished itself by the production of an orchestra 
of ten first, ten second violins, eight violas, six celli 
and double basses. Wagner conducted the Eroica, 
and I two of my Symphonic Poems — Orpheus and Les 
Preludes. The performance and reception of my works 
were quite to my satisfaction, and the Preludes had to 
be repeated (as they were in Pest). Whether such 
a production would be possible in Stettin I much 
doubt, in spite of your friendly advances. The open, 
straightforward sense of the public is everywhere kept 
so much in check by the oft-repeated rubbish of the 
men of the " But " and u Yet" who batten on criticism, 
and appear to set themselves the task of crushing 
to death every living endeavour, in order thereby to 
increase their own reputation and importance, that I 
must regard the rapid spread of my works almost 
as an imprudence. You desire Orpheus, Tasso, and 
Festkldnge from me, dear friend ! But have you 
considered that Orpheus has no proper working out 
section, and hovers quite simply between bliss and 
woe, breathing out reconciliation in Art ? Pray do not 
forget that Tasso celebrates no psychic triumph, which 
an ingenious critic has already denounced (probably 
mindful of the " inner camel" which Heine designates 


as an indispensable necessity of German aestheticism !), 
and the Festklange sounded too confusedly noisy even 
to our friend Pohl ! And then what has all this canaille 
to do with instruments of percussion, cymbals, triangle, 
and drum in the sacred domain of Symphony ? It is, 
believe me, not only confusion and derangement of 
ideas, but also a prostitution of the species itself! 

Should you be of another opinion, allow me at least 
to keep you from too greatly compromising yourself, 
so near to the doors of the immaculate Berlin critics, 
and not to drag you with myself into the corruption of 
my own juggling tone-poems. Your dear wife (to 
whom I beg you to remember me most kindly) might 
be angry with me for it, and I would not on any 
account be put into her bad books. Instead of con- 
ducting my Symphonic Poems, rather give lectures at 
home of the safe passport of Riehl's " Haus-Musik," 
and take well to heart the warning, 

" Riickkehr zum Mass."* 

On this road alone can you soon attain a conductor's 
post, and the " esteem " due to you as a music director, 
both from musicians and people of rank. 

For the rest you would entirely misconstrue my 
good advice if you thought you could see in it only a 
pretext for not keeping my former promise of coming 
to see you at Stettin. I shall most certainly come to 
you on the first opportunity, and shall be delighted to 

* "A returning within bounds." A footnote by Liszt follows: 
"Dabei wird natiirlich das Mass der Mittelmiissigkeit als einzig 
massgebend verstanden." (" By this is of course understood the 
bounds of mediocrity as the one limitation.") A play on the words, 
Mass, Massigkeit, and Massgebend. 


spend a couple of days with such excellent friends. 
But first of all I must stop in Weymar for a while, 
in order to finish some works begun, and to forget 
altogether my lengthy illness in Zurich. 

I had some glorious days with Wagner ; and Rhc in- 
gold and the Walkure are incredibly wonderful works. 

To my great sorrow, I only saw your brother Carl l 
a couple of times in the early days of my stay in 
Zurich. I will tell you viva voce how this happened, 
so entirely against my wish and expectation, through 
a provoking over-sensitiveness on the part of your 
brother. I am sure you don't need any assurance that 
I did not give occasion in any way to this. But for 
the future I must quietly wait till Carl thinks better 
and more justly of it. 

Farewell, dear friend, and let me soon hear from 
you again. 

Yours in all friendship, 

F. Liszt. 

Bronsart is going shortly to Paris, where he will 
stay some time. Cornelius is working at a comic 
opera * in the Bernhard 's-Hiitte. Raff is to finish his 
Samson for Darmstadt. Tausig is giving concerts in 
Warsaw. Pruckner will spend the winter in Vienna 
and appear at several concerts. Damrosch composed 
lately an Overture and Entre-acte music to the Maid 
of Orleans. Stor plunges himself into the duties of a 
general music director. Thus much have I learned of 
our Neu- Weymar- Verein. 

1 A musician, a friend of Wagner's. 

* This would be the Barber of Bagdad. — Translator's note. 


169. To Professor L. A. Zellner in Vienna. 1 

To my letter of yesterday I have still to add a 
postscript, my dear friend, concerning the information 
in your new Abonnement? in which I was struck with 
the name of Bertini among the classics, which does not 
seem to me suitable. As far as I know, Bertini is still 
living? and according to the common idea, to which 
one must stick fast, only those who are dead can 
rank as classic and be proclaimed as classic. Thus 
Schumann, the romanticist, and Beethoven, the glorious, 
holy, crazy one, have become classics. Should Bertini 
have already died, I take back my remark, although 
the popularity of his Studies is not, to me, a satisfactory 
reason for making his name a classic. — Moscheles' 
and Czerny's Studies and " Methods " would have a 
much more just claim to such a thing, and your paper 
has especially to set itself the task of counteracting, 
with principle and consistency, the confusion of ideas 
from which confusion and ruin of matters arise. Hold 
fast then to this principle, both in great and small 
things, for the easier understanding with the public, 
that the recognition of posterity alone impresses the 
stamp of " classical " upon works, in the same way as 
facts and history are established ; for thus much is 
certain, that all great classics have been reviled in their 
own day as innovators and even romanticists, if not 
bunglers and crazy fellows, and you yourself have 

1 General Secretary of the Gesellschaft der Musikfreunde ("Society 
of Lovers of Music ") in Vienna ; composer and writer on music. 

- The Blatter fur Milstk, Theater, und Kunst ("Pages of Music, 
Theatre, and Art "), edited by Z. 

3 He did not die till 1876. 


commented on, and inquired into, this matter many 
times. . — . 

In your number of to-day I read an extract from 
my letter to Erkel, * in which, however, the points are 
missing. Erkel shall show you the letter on the first 
opportunity, for he has not left it lying idle in his desk. 
Of course no public use is to be made of it. 

Yours ever, 

F T 

January 2nd, 1857. r " *~" 

170. To Herr von Turanyi, Musical Conductor 
of the Town of Aix-la-Chapelle. 2 

Weymar, January 3rd, 1857. 

Dear Herr Capellmeister, 

Although I am still kept to my bed by a long- 
continued indisposition, yet I will not delay giving you 
my warmest thanks for the active pains you have so 
kindly taken to place my endeavours in the cause of 
Art in a better light than I could otherwise have ex- 
pected in your neighbourhood. 

The result of the choice of myself as conductor of 
the Musical Festival at Aix-la-Chapelle this year — a 
result which was notified to me yesterday by the letter 
of the Committee of the Lower-Rhine Musical Festival 
— is a welcome sign to me of the gradual recognition 
which an open and honestly expressed, consistent, and 
thoroughly disinterested conviction may meet with in 
different places. Whilst feeling myself especially in- 
debted to you for having brought about this result, I 

1 A well-known Hungarian composer (" Hunyadi Laszlo "). 

2 Published in the Allgemeine Musikzciiiing, July nth, 1890. 


would express to you at the same time the fact of my 
readiness to answer }'our very flattering wishes to 
the best of my powers, and to put aside any hindrances 
that may be in the way, in order to fulfil the task 
entrusted to me, if the following remarks are brought 
to the attention of the Committee, as I consider them 
essential to the success and also to the importance of 
the Musical Festival. 

My conducting in Aix-la-Chapelle can only have 
such significance as attaches to the less-known and 
newer works, and those which are more nearly allied 
to the Art-interests of to-day; its justification would 
be strengthened by an excellent performance of such 
works. I was on this account completely in accordance 
with the programme you so kindly sent me (with the 
addition of one or two numbers), as I am unable to be 
with the other programme, received in the letter of 
the Committee yesterday. The latter is as follows : — 
First day : Messiah by Handel. — Second day : Mass 
(in D major) by Beethoven. 
The former as follows : — 

. First day : Mass by Beethoven (preceded by one of 
the shorter works of Handel — or possibly by a Cantata 
by Bach [?]). 

Second day : Schubert's Symphony (in C) ; one of 
the larger choral works of Schumann (say, perhaps, 
The Rose's Pilgrimage — or one of the Ballades), and, 
as I should propose, one of the longer scenes from 
Berlioz' Faust, and one or other of my Symphonic Poems. 
You will not expect of me, dear Herr Capellmeister, 
that I should go off into a great panegyric about 
Handel, and, if you caught me doing it, you might 


stop me immediately with the words of the ancient 
Greek who did not want any more praises of Homer — 
" You praise him, but who is thinking of blaming 
him ? " The fulness and glory of this musical majesty 
is as uncontested as the pleasant, emulating, easily 
attainable performance of the Messiah, a chef-d'oeuvre, 
which has been for years the "daily bread," so to 
speak, of great and small vocal societies both in 
England and Germany. With the exception of 
Haydn's Creation there is scarcely a work of that 
kind existing which could show such countless per- 
formances. I, for my part, chose the Messiah for 
performance again in Weymar (in August 1850) — partly 
because Herder had interested himself in the prepara- 
tion of the German text — and in the previous August 
they celebrated the Middle-Rhine Musical Festival at 
Darmstadt with it. This latter circumstance enhances 
my general consideration as to the artistic judicious- 
ness of a repeated performance of the Messiah, up 
to a special point in regard to the Aix-la-Chapelle 
Festival, and therefore I should like the question put 
to the Committee " whether they consider that, in the 
interests of the l fresher life of the Musical Festival 
there,' it can be advantageous for the Lower-Rhine 
to repeat it after the Middle-Rhine." 

The sentence in the letter of the Committee, in 
which the hope is cherished and expressed that " the 
celebrated Frau Lind-Goldschmidt may be engaged," 
leads me to an almost more serious consideration. — 

Do not be alarmed, dear sir, and do not be in the 
least afraid that I am going to struggle, in the usual 
style of our unchivalrous Don Quixote of musical 


criticism, with the windmill of virtuosity. You could 
not fairly expect this of me either, for I have never 
concealed that, since the grapes of virtuosity could not 
be made sour for me, I should take no pleasure what- 
ever in finding them sour in somebody else's mouth. 

Frau Lind-Goldschmidt stands as incomparable in 
her glittering renown as- a singer as Handel in his 
as a composer, with the difference — which is in Frau 
Lind's favour to boot — that Handel's works weary 
many people and do not always succeed in filling the 
coffers, whereas the mere appearance of Frau Lind 
secures the utmost rapture of the public, as well as 
that of the cashier. If, therefore, we place the affairs 
of the Musical Festival simply on the satisfying and 
commercial debit and credit basis, certainly no artist, 
and still less any work of Art, could venture to com- 
pete with, and to offer an equal attraction to, the high 
and highly celebrated name of Frau Lind. Without 
raising the slightest objection to this, I must express 
my common-sense opinion that with this magnet 
all others would be quite superfluous, which, how- 
ever, cannot be quite so indifferent to me ; for, as 
Louis XIV. represented the State, so Frau Lind would 
constitute the Musical Festival proper. This avow T al 
(for which I deserve, at the very least, stoning with 
the usual ingredients of operations of that kind in 
our civilised age, if I did not happen to implore grace 
of the divine Diva herself)— this avowal I already 
made last year, on occasion of the Dusseldorf Musical 
Festival, to my esteemed friend of many years, 
Ferdinand Hillcr. What is the use of orchestra and 
singers, rehearsals and preparations, pieces and pro- 


grammes, when the public only want to hear the Lind, 
and then hear her again — or, more correctly speaking, 
when they must be able to say they have heard her, 
in order to be able to wallow at ease in their enthu- 
siasm for Art ? What I foresaw then was also con- 
firmed to a hair, for it proved, as everybody knows, 
that all the sympathy of the public went in favour of 
whatever Frau Lind did, so that the so-called Artist- 
concert on the third day was the most fully attended, 
because in it there were an aria from Beatrice di 
Tenda and Swedish songs as special attraction — for 
which marvels the very simplest pianoforte accom- 
paniment was no doubt sufficient. — Should the Com- 
mittee of Aix-la-Chapelle be minded to take to heart 
the motto of Hiller's Symphony, " Es muss doch 
Fruhling werden," * in all its artistic endeavour, and, 
as you write, to steer clear towards the goal of 
a " fresher rekindling of the Musical Festival," we 
shall be obliged, alas ! to do without the Swedish 
Nightingale and Europe's Queen of Song. 

In short, the point of the matter of this year's 
Musical Festival at Aix-la-Chapelle is, as concerns 
myself, as follows : — 

If they decide on having the Messiah, I must beg to 
be pardoned for having to excuse myself from coming. 1 

If the Committee accepts the programme I have 
drawn (Schubert Symphony, etc., including the last 
numbers) for the second day, then it will be a pleasing 
duty to me to accept the honour of the invitation, 

* "The spring will surely come." 

1 Liszt finally dropped his objection to the Messiah. He had it 
performed at the Musical Festival, conducted by him. 


always supposing that the means for a brilliant per- 
formance of the Beethoven Mass and the other works 
are forthcoming, as one cannot doubt will be the case 
in Aix-la-Chapelle — if my share in the Festival does 
not in any way give offence to the neighbouring towns, 
in which case I should of course gladly and quietly 
retire, in order not to occasion any disturbance, or un- 
satisfactorily prepared discord in the customs of the 
musical Rhine-lands. I think there is no need for me 
to accentuate the fact that a musical conductor cannot 
blindly subscribe to just every programme that is put 
before him, and I hope that the honourable Committee 
will not consider that there is any assumption in my 
proposition to place the Aix-la-Chapelle programme 
more in accord with my own collective endeavours. 

I am writing a few lines of thanks by the next 
post to President Herr Van Houten for the distinction 
shown to me about the consideration contained in this 
letter, which I beg that you will communicate to him 

Awaiting further communications from the Committee, 
I remain, dear Herr Capellmeister, with warm acknow- 
ments and high esteem, 

Yours very truly, 

F. Liszt. 

171. To J. W. vox Wasielewski in Dresden. 

Dear Friend, 

Your letter reached me, after some delay, in 
Zurich, where I had to keep my bed for several weeks 
— and to-day I write to you still from my bed, and 
VOL. I. 20 


sulking because the geographical change which I have 
made has not brought about any improvement in my 
pathological condition (which, by the way, is quite 
without danger). 

How are you, dear Wasielewski ? Have you settled 
yourself pleasantly in Dresden ? Are you working at 
music industriously and methodically ? — How far have 
you got in your biography of R. Schumann ? With 
regard to this work, the publication of which I am 
awaiting with great interest, I am sorry to be unable to 
follow the wish you so kindly express. Many letters 
addressed to me by Schumann in earlier years are lost, 
and since my residence in Weymar (from the year 1848) 
we certainly wrote to one another from time to time, 
but only when theatre or concert performances of his 
works gave a sort of business occasion for it. Weymar 
does not deserve the reproach of having kept itself too 
much in the background in this respect. At the Goethe 
Festival in 1849 I had the great closing scene to the 
second part of Faust given, which was, later on, re- 
peated; at the beginning of 1852 the music to Byron's 
Man/red, with a stage performance of the drama such 
as he desired, was given several times, and, as far as I 
know, up to now no other theatre has made this attempt. 1 
The Weymar theatre is likewise the only one which 
contains in its repertoire Schumann's Genoveva (which 
was indeed given here for the first time in April 1855). 
It goes without saying that, during the years of my 
work here, most of his chamber music — Quartets, Trios, 
Sonatas — as well as his Symphonies, Overtures, and 
Songs, have been cherished with particular preference 

1 Liszt was actually the first. 


and love, and have been frequently heard in various 
concerts, with the exception of one of the most im- 
portant ; but the very slight amount of public activity 
of our Vocal Union has prevented, as yet, any perform- 
ance of the Pert, which, however, has already been 
partly studied, and will ere long be given at last. 

As a contribution to your biographical studies, dear 
Wasielewski, I should like to tell you truly with what 
sincere, heartfelt, and complete reverence I have fol- 
lowed Schumann's genius during twenty years and 
faithfully adhered to it. Although I am sure that you, 
and all who know me more intimately, have no doubt 
about this, yet at this moment the feeling comes over 
me — a feeling which I cannot resist— to tell you more 
fully about my relations with R. Schumann, which 
date from the year 1836, and to give them you here 
plainly in extenso. Have a little patience, therefore, 
in reading this letter, which I have not time to make 

After the buzz and hubbub called forth by my article 
in the Paris Gazette Musicale on Thalberg (the meaning 
of which, be it said in passing, has been quite distorted), 
which was re-echoed in German papers and salons, 
Maurice Schlesinger, the then proprietor of the Gazette 
Musicale, took the opportunity of asking me to insert 
in his paper a very eulogistic article on anything 
new that came out in the world of Art. For months 
Schlesinger sent me with this object all sorts of 
novelties, among which, however, I could not find 
anything that seemed to me deserving of praise, until 
at last, when I was at the Lake of Como, Schumann's 
Impromptu in C major (properly variations), the Etudes 


symphoniques, and the Concert sans orckestre* (published 
later, in the second edition, under the more suitable 
title Sonata in F minor) came into my hands. In 
playing these pieces through, I felt at once what 
musical mettle was in them ; and, without having pre- 
viously heard anything of Schumann, without knowing 
how or where he lived (for I had not at that time been 
to Germany, and he had no name in France and Italy), 
I wrote the critique which was published in the Gazette 
Musicale towards the end of 1837, an ^ which became 
known to Schumann. 

Soon afterwards, when I was giving my first concerts 
in Vienna (April to May 1838), he wrote to me and 
sent me a manuscript entitled " Gruss an Franz Liszt 
in Deutschland." t I forget at this moment under what 
title it was afterwards published ; the opening bars are 
as follows : — l 

At about the same time followed the publishing of 
the great Fantasia (C major) in three movements, 
which he dedicated to me ; my dedication to him in 
return for this glorious and noble work was only made 
three years ago in my Sonata in B minor. 

At the beginning of the winter of 1 840 I travelled 
from Vienna back to Paris by way of Prague, Dresden, 

* Concerto without orchestra. 
+ "Greeting to Franz Liszt in Germany." 

1 It is the beginning of the second Novelette Op. 21, but not quite 
correctly quoted above by Liszt. 


and Leipzig. Schumann paid me the friendly attention 
of welcoming me immediately on my arrival in Dresden, 
and we then travelled together to Leipzig. Wieck, 
afterwards Schumann's father-in-law, had at that time 
a lawsuit against him to prevent his marriage with 
Clara. I had known Wieck and his daughter from 
Vienna days, and was friendly with both. None the 
less I refused to see Wieck again in Dresden, as he 
had made himself so unfriendly to Schumann ; and, 
breaking off all further intercourse with him, I took 
Schumann's side entirely, as seemed to me only right 
and natural. Wieck without delay richly requited me 
for this after my first appearance in Leipzig, where he 
aired his bitter feelings against me in several papers. 
One of my earlier pupils, by name Hermann Cohen — a 
native of Hamburg, who in later years aroused much 
attention in France, and who, as a monk, had taken 
the name of Frere Augustin (Carme dechausse 1 ) — was 
the scapegoat in Leipzig for Wieck's publicly inflamed 
scandal, so that Cohen was obliged to bring an action 
for damage by libel against Wieck, which action 
Hermann won with the assistance of Dr. Friederici, 

In Leipzig Schumann and I were together every day 
and all day long — and my comprehension of his works 
became thereby more familiar and intimate. Since my 
first acquaintance with his compositions, I have played 
many of them in private circles in Milan, Vienna, etc., 
but without being able to win over my hearers to them. 
They lay, happily, much too far removed from the 
insipid taste, which at that time absolutely dominated, 

1 Barefooted Carmelite. 


for it to be possible for any one to thrust them into 
the commonplace circle of approbation. The public 
did not care for them, and the majority of pianists did 
not understand them. In Leipzig even, where I played 
the Carneval at my second concert in the Gewandhaus, 
I did not succeed in obtaining my usual applause. 
The musicians, together with those who were supposed 
to understand music, had (with few exceptions) their 
ears still too tightly stopped up to be able to com- 
prehend this charming, tasteful Carneval, the various 
numbers of which are harmoniously combined in such 
artistic fancy. I do not doubt that, later on, this work 
will maintain its natural place in universal recognition 
by the side of the Thirty-three Variations on a Waltz of 
Diabelli by Beethoven (to which, in my opinion, it is 
superior even in melodic invention and importance). 
The frequent ill-success of my performances of Schu- 
mann's compositions, both in private circles and in 
public, discouraged me from including and keeping 
them in the programmes of my concerts which followed 
so rapidly on one another — programmes which, partly 
from want of time and partly from carelessness and 
satiety of the " Glanz-Periode " * of my pianoforte- 
playing, I seldom, except in the rarest cases, planned 
myself, but gave them now into this one's hands, and 
now that one, to choose what they liked. That was 
a mistake, as I discovered later and deeply regretted, 
when I had learned to understand that for the artist 
who wishes to be worthy of the name of artist the 
danger of not pleasing the public is a far less one than 
that of allowing oneself to be decided by its humours 

* "Splendour period." 


—and to this danger every executive artist is especially 
exposed, if he does not take courage resolutely and .on 
principle to stand earnestly and consistently by his 
conviction, and to produce those works which he knows 
to be the best, whether people like them or not. 

It is of no consequence, then, in how far my faint- 
heartedness in regard to Schumann's pianoforte com- 
positions might possibly be excused by the all-ruling 
taste of the day, but I did without thinking of it 
thereby set a bad example, for which I can hardly 
make amends again. The stream of custom and the 
slavery of the artist, who is directed to the encourage- 
ment and applause of the multitude for the mainten- 
ance and improvement of his existence and his renown, 
is such a pull-back, that, even to the better-minded 
and more courageous ones, among whom I am proud 
to reckon myself, it is intensely difficult to preserve 
their better ego in the face of all the covetous, dis- 
tracted, and — despite their large number— backward- 
in-paying We. 

There is in Art a pernicious offence, of which most 
of us are guilty through carelessness and fickleness ; I 
might call it the Pilate offence. Classical doing, and 
classical playing, which have become the fashion of late 
years, and which may be regarded as an improvement, 
on the whole, in our musical state of things, hide in 
many a one this fault, without eradicating it :— I might 
say more on this point, but it would lead me too far. 

For my part I need not, at least, reproach myself 
with having ever denied my sympathy and reverence 
for Schumann ; and a hundred of the younger com- 
panions in Art in all lands could bear witness that 


I have always expressly directed them to a thorough 
study of his works, and have strengthened and refreshed 
myself by them. 

If these particulars have not wearied you, dear 
Wasielewski, I will gladly continue them, and tell 
you about everything from my second visit to Leipzig 
(at the end of 1841) which was brought about by Schu- 
mann, up to my last meeting with him at Dusseldorf 
(in 1 851). Friendly greetings 

From yours most sincerely, 

F. Liszt. 
Weymar, January gth, 1S57. 

172. To General Alexis von Lwoff in 
St. Petersburg. 1 

Your Excellency and my Honoured Friend, 

Permit me to think that I am not quite effaced 
from your recollection, and to avail myself of the medium 
of Mdlle. Martha de Sabinin to recall myself to you 
more particularly. It being her wish to find herself 
in pleasant relations with the chief representatives of 
music in St. Petersburg, it was natural that I should 
introduce her in the first instance to you, and re- 
commend her to you first and foremost as the protegee 
of Her Imperial Majesty the Grand Duchess Marie 
Pawlowna, as well as of the reigning Grand Duchess 
of Saxe- Weymar (in whose service she has been for 
several years as Court Pianist and Professor at the 
Institute for Young Ladies of the Nobility), — and, 

1 J 799 -I 877; in addition to his military position, he was a cele- 
brated violinist, and conductor of the Imperial Court-Singers at 
St. Petersburg. 


secondly, as a clever woman and excellent musician and 
pianist, who, after having gone through the most con- 
scientious study, is perfectly fitted to teach others in a 
most agreeable manner. She especially excels in her 
execution of classical music and ensemble ; and, this 
side of music being, from what I hear, more and more 
cultivated at St. Petersburg, especially through your 
care, I am pleased to think that Mdlle. de Sabinin will 
easily find an opportunity of coming out advantageously 
in this line. I much regret that you have, as yet, 
neglected Weymar since I have been settled here. It 
would have been a pleasure to me to place at your 
disposal a musical personnel, which has been justly 
spoken of with praise, for the performance of your 
Stabat Mater and other of your compositions, which we 
should have great pleasure in applauding. Let me hope 
that you will not always be so rigorous towards us, and 
pray accept the expressions of high esteem and respect 
with which I shall always be, dear and honoured friend, 
Your Excellency's very obedient servant, 
Weymar, January lofh, 1857. F. LlSZT. 


[Received January 12th, 1857.] 

Dear Sir, 

On my somewhat delayed return to Weymar 
I find your friendly letter, for which I send you my 

1 Hofcapellmeister [Court conductor], and an excellent conductor 
(1831-1S77). — The above letter, as well as a later one addressed to 
the same musician, was published in " Johann Hei beck. Ein Lebens- 
bild von seinem Sohne Ludwig." Vienna, Gutmann, 1885. — Date in 
Herbeck's handwriting. 



sincere and warmest thanks. I am very much pleased 
to learn from you that you have succeeded, thanks to 
your careful and intelligent preparation, in making 
such a good effect with the Faust (Student) Chorus. 1 
This light little piece has been pretty successfully 
given several times by M T tinner gesangvereinen* in 
Cologne, Berlin, etc., and even in Paris. When I 
published it fifteen years ago, I did not think much 
about making allowance for any possible laxity in the 
intonation of the singers ; but to-day, when my expe- 
rience has taught me better, I should probably write 
the somewhat steep and slippery passage as follows : — 


Die Ko-chin hat 





Gift gestellt, 





^ » • » * I, * i 

~1 ~i Die Ko-chin hat ihr Gift ge - stellt, 



— I 

Die Kb- chin hat ihr Gift ge 


da ward zu 



-p. — *- 

y- V 

V i/ r r 
ward zu eng ihr in der Welt, etc. 

JS IS >S 5s JS !S n — 1 1 i-I — P— , T 

— £ — fc—* — i — * \- 

:1a ward zu 

eng ihr in der Welt 

Probably this version would also be more effective — 

1 It was the first choral composition which was conducted by 
Liszt in Vienna, and with the very same Mannergesangverein which 
Herbeck conducted. 

* Vocal societies of male voices. 


with the alteration in the last verse (in honour of 
prosody !) : — 

ha, sie pfeift auf dem letz-ten Loch. 

_IS — ps — I - N N,^ 1 k- 

/ I 1 H^ H^ 1 — 1^ ^ I li. W !-" 1 

\ bzrz: — rftnp — y=z? g=g=±ffp — nzfb: 

J ^y y \ y y V y 

-4 Jr Js_JS- 1 _ r _j N— N — V— IS — l 


ha, sie pfeift auf dem letz-ten Loch, sie pfeift 

I shall venture shortly to send you (by Herr 
Haslinger), my dear sir, a couple of other Quartets for 
male voices to look through. If, after doing so, you 
think you may risk a public performance of them, I 
leave the matter entirely in your hands. 

There is not the slightest hurry about the Mass, 1 
and I fear that the preparation of this work will cost 
you and your singers some trouble. Before all else 
it requires the utmost certainty in intonation, which 
can only be attained by practising the parts singly 
(especially the middle parts, second tenor and first 
bass) — and then, above all, religious absorption, medita- 
tion, expansion, ecstasy, shadow, light, soaring — in a 
word, Catholic devotion and inspiration. The Credo, 
as if built on a rock, should sound as steadfast as the 
dogma itself; a mystic and ecstatic joy should pervade 
the Sanctus ; the Agnus Dei (as well as the Miserere 
in the Gloria) should be accentuated, in a tender and 

' For men's voices. On the occasion of the Mozart Festival in 
Vienna in 1856, conducted by Liszt, he had played portions of this 
Mass to Herbeck, and the latter felt himself, as he wrote to Liszt, 
"electrified by the spirit of this work and its creator," and set 
himself "at the same time the artistic duty of a worthy rendering of 
this Song of Praise." 


deeply elegiac manner, by the most fervent sympathy 
with the Passion of Christ ; and the Dona nobis pacem, 
expressive of reconciliation and full of faith, should 
float away like sweet-smelling incense. The Church 
composer is both preacher and priest, and what the 
word fails to bring to our powers of perception the 
tone makes winged and clear. 

You know all this at least as well as I do, and I 
must apologise for repeating it to you. If the extent 
of the chorus allows of it, it might perhaps be desir- 
able to add a few more wind instruments (clarinets, 
bassoon, horns, indeed even a couple of trombones) 
to support the voices more. If you think so too, 
please send me a line to say so, and I will at once 
send you a small score of the wind instruments. 1 You 
shall have the vocal parts from Jena immediately. 
For to-day accept once more my best thanks, together 
with the assurance of the highest esteem of 

Yours ever, 
F. Liszt. 

174. To Professor Franz Gotze in Leipzig.' - * 

Dear Friend, 

In consequence of an invitation of the directors, 
I shall have the honour of having several of my works 

1 Herbeck himself undertook, at Liszt's desire (which, as he 
wrote, fdled him with joy and pride), to write the instrumental 
accompaniment to the Mass. 

2 The celebrated singer in Leipzig (1814-88); was a pupiA of 
Spohr's, and was first violinist in the Weimar Hofcapelle, then went 
on to the stage, and both as a lyric tenor and as a singer of Lieder 
was incomparable. He was the first who publicly went in for Liszt's 
songs, in which his pupils imitated him. 


performed at the concert on the 26th February for the 
Orchestral Pension Fund in Leipzig, and very much ivish 
that you would do me the kindness to sing two of my 
songs (" Kling leise, mein Lied " and " Englein du mit 
blondem Haar"), and to rejoice the public with your 
ardent and beautifully artistic rendering of these little 

Fraulein Riese is so good as to bring you the new 
edition of my six first songs (amongst which is the 
" Englein " in A major) — a couple more numbers will 
shortly follow. 

Grant me my request, dear friend, and rest assured 
beforehand of the best thanks, with which I remain, 
Yours in most sincere friendship, 
Weymar, February 1st, 1857. F. LlSZT. 

175. To Dionys Pruckner in Vienna. 

Weymar, February nth, 1857. 

From all sides, dearest Dionysius, I hear the 
best and most brilliant accounts of you. Without 
being surprised at this I am extremely pleased about 
it. To make a firm footing in Vienna as a pianoforte 
player is no small task, especially under present circum- 
stances ! If one succeeds in this, one can, with the 
utmost confidence, make a name throughout Europe. 
It is very important for you, dear friend, to appear 
often in public, so as to make yourself feel at home 
with them. In production the public have far more to 
care about the artist than he has to care about them, 
or indeed to let himself be embarrassed by them. At 
home, our whole life through, we have to study and to 
devise how to mature our work and to attain as near 


as possible to our ideal of Art. But when we enter the 
concert-room the feeling ought not to leave us, that, 
just by our conscientious and persevering striving, we 
stand somewhat higher than the public, and that we 
have to represent our portion of " MenschJicits-Wiirde"* 
as Schiller says. Let us not err through false modesty, 
and let us hold fast to the true, which is much more 
difficult to practise and much more rare to find. The 
artist — in our sense — should be neither the servant 
nor the master of the public. He remains the bearer 
of the Beautiful in the inexhaustible variety which is 
appointed to human thought and perception — and this 
inviolable consciousness alone assures his authority. 

Through your father I learn that you are thinking of 
going to Munich in the course of the spring. I, on my 
side, had also the intention of giving you a rendez-vous 
there. But yesterday I definitely accepted the con- 
ductorship of the Musical Festival of the Lower-Rhine, 
which will take place this year in Aix-la-Chapelle at 
Whitsuntide, on the 31st May, and could not under- 
take a long journey before then, in order not to break 
in on my work too much. 

At the beginning of September we shall have grand 
festivities here in honour of the centenary of Carl 
August. Rietschel's Schiller and Goethe group will 
then be put up, and there will be a great deal of music 
on this occasion at the theatre, for which I must prepare. 
I hope we shall see each other before then. 

Bronsart is in Paris. You shall have his Trio very 
soon. Biilow is playing in Rostock, Bremen, and 
Hamburg. The Aix-la-Chapelle Committee have also 

* Manhood's dignity. 


invited him to the Musical Festival. Singer goes next 
week to Rotterdam, and on the 26th February a couple 
of my Symphonic Poems will be given at the Gewand- 
haus (directed by myself). I yesterday finished the score 
of another new one, Die Hunnenschlacht,* which I should 
like to bring out in Vienna when there is an opportunity. 

Yours in all friendship, 

F. Liszt. 

176. To Joachim Raff. 

[February 1857.] 

You may rest assured, dear friend, that it was 
very much against the grain to me that I could not 
accept the kind invitation of the Wiesbaden Concert 
Committee, for which I have to thank your interven- 
tion ; and your letter, in which you explain to me some 
other circumstances, increases my sincere regret. But 
for this winter it is, frankly, impossible for me to accept 
any invitations of that kind, and I think I have told 
you before now that I have had to excuse myself in 
several cities (Vienna, Rotterdam, etc.). Even for 
Leipzig, which is so near me (although I might appear 
somewhat far-fetched to many a one there !), it was 
difficult to find a day that would suit me. On the 
26th of this month the Preludes and Mazeppa are to 
be given in the Gewandhaus under my direction (for 
the Orchestral Pension Fund Concert). Perhaps this 
performance will serve as a definite warning for other 
concert-conducting, which might have been thought 
of, to question my " incapability as a composer," so often 
demonstrated (see the proof number of the Illnstrirte 

* The Battle of the Huns. 



Monatsheft of Westermann, Brunswick, the National 
Zeitung, and the " thousand and one " competent judges 
who have long since been quite clear on the matter !). 

How far are you in your Opera ? When will one 
be able to see and hear something of it ? As far as 
I have heard, you intend to perform Samson first in 
Darmstadt. If this does not happen at too awkward 
a time for me I shall come. 

After having twice renounced the honour of con- 
ducting the approaching Musical Festival of the Lower- 
Rhine (to be held this year at Aix-la-Chapelle) a 
deputation of the Committee arrived here yesterday. 
In consideration of their courtesy I shall therefore go 
to Aix-la-Chapelle at Whitsuntide, and perhaps you 
will let yourself be beguiled into visiting me there. 
By that time also the Mass 1 will probably have already 
come out, and you must have a copy of it at once. By 
the many performances, which have been of great use 
to me in this work, many additions, enlargements, and 
details of performance have occurred to me, which 
will enhance the effect of the whole, and will make 
some things easier in performance. An entirely new 
concluding fugue of the Gloria, with this motive : — 


*^=i=F= F=F- 






Cum sane - to spi - ri - tu 

cum sane - to 



* 4 J 4.. 4*-+~& i 


spi - ri - tu in Glo - 

may not be displeasing to you. 

1 The Gran Festival Mass. 


Very shortly I will send you also the three numbers 
still wanting (1, 8, and 9) of the Symphonic Poems, so 
that you may again have some (for you) light reading 
as a rest from your work. The Berg Symphony was 
given, in its present form, a short time ago at Bronsart's 
farewell concert. Bronsart played the same evening 
a Trio of his own composition in four movements, which 
I esteem as a successful and very respectable work. 

Once more best thanks for the fresh proof of your 
friendly attachment which your letter gives me, and don't 
let too long a time elapse without sending good news to 

Yours most sincerely, 

F. Liszt. 



Leipzig, February 26th, 1857, 10 o clock. 


Away ! T 

* Printed in Eckardt's " F. David and the Mendelssohn Family," 
Leipzig, Dunker & Humblot, 1888. 

1 A quotation from Liszt's Symphonic Poem Mazeppa, which he 
had conducted in the Leipzig Gewandhaus on the same day as the 
Preludes, and with which he had had ill-success. David, who was 
present as leader of the orchestra, " disapproved " — according to 
Eckardt — of Liszt's composing tendency, but continued, till his life's 
end, " filled with admiration for the incomparable artist and genial 
man,'' in the friendliest relations with Liszt. 

f Written in English by Liszt. 

VOL. I. 2 1 


Before I go to bed let me give you my most 
sincere and heartfelt thanks, my very dear friend, which 
I owe you for this evening. You have proved yourself 
anew such a thorough gentleman * and high-standing 
artist at this evening's concert. 

That is nothing new in you, but it gives me pleasure, 
as your old friend, to repeat old things to you, and to 
remain ever yours most gratefully, 

Franz Liszt. 

178. To Wladimir Stassoff in St. Petersburg. 1 

An illness, not in the least dangerous, but very 
inconvenient, since it obliges me to keep my bed rather 
often (as at this moment), has deprived me of the 
pleasure of replying sooner to your very kind letter, 
firstly to thank you for it, and also to tell you how 
delighted I shall be to make acquaintance with Mr. 
SerofFs manuscripts, which you kindly introduce to me 
in so persuasive a manner. Many people who have 
the advantage of knowing Mr. Seroff, among others 
Mr. de Lenz and Prince Eugene Wittgenstein, have 
spoken of him to me with great praise, as an artist 
who unites to real talent a most conscientious intel- 
ligence. It will be of great interest to me to estimate 
the work to which he has devoted himself with such 
praiseworthy perseverance, and thus to avail myself 
of the opportunity offered to me of hearing those 
sublime works of the last period (I purposely put aside 

* Gentleman, put in English by Liszt. 

1 A Russian writer, a musical and art critic, at present director of 
the Imperial Public Library at St. Petersburg. 


the inappropriate word manner, and even the term 
style) of Beethoven — works which, whatever Mr. Ouli- 
bicheff and other learned men may say who succeed 
more easily in pouring forth in these matters than in 
being well versed* in them, will remain the crowning 
point of Beethoven's greatness. 

With regard to the edition of these scores of Mr. 
Seroff s for two pianos, I will willingly do what you 
wish, though at the same time confessing to you that 
my credit with the editors is not worth much more 
than my credit with the above-mentioned learned men, 
as these latter do their best to keep all sorts of cock- 
and-bull stories going, which prevent the editors from 
running any risk in mad enterprises, as they have so 
peremptorily been pointed out to be ! And, more than 
this, ycu are not ignorant that arrangements for two 
pianos — the only ones adapted to show the design 
and the grouping of ideas of certain works — are but 
little in favour with music-sellers and very unsaleable, 
as the great mass of pianists is scarcely capable of 
playing on the piano, and cares very little (except some- 
times for form's sake and human respect) for the 
interest of intelligence and feeling which might attach 
to the promenades of their fingers. In spite of all this, 
please rest assured, sir, that I shall neglect nothing 
that can justify the confidence you place in me, and 
pray accept the very sincere regards of 

Yours most truly, 

F. Liszt. 

WEYMAR, March l"J/h, 1S57. 

* A play on words — verser and verse. 


I am awaiting with impatience the parcel you pro- 
mise me, and beg you to make it as large as possible, 
so that I may make a thorough acquaintance with 
Mr. Seroff's work. Especially be so good as not to 
forget the arrangement of Beethoven's latter Quartets. 


For pity's sake, dear friend, don't treat me like 
Moscheles ; don't think I am dead, although I have 
given you some little right to think so by my long 
silence. But there are so many " demi "-people, and 
^////-clever people (who are at least as dangerous to 
Art as the demi-monde is to morals, according to 
Alexandre Dumas), who say such utter stupidities 
about me in the papers and elsewhere, that I really 
should not like to die yet, if only not to disturb their 
beautiful business. You were even complaining of 
one single whistling blackbird* pastorally perched on 
your book — what shall I say then of the croaking of 
that host of ravens and of obliques hiboux^ that spreads 
like an " epidemic cordon " all the length of the scores 
of my Symphonic Poems ? — Happily I am not made 
of such stuff as to let myself be easily disconcerted' 
by their " concert," and I shall continue steadfastly 
on my way to the end, without troubling about any- 
thing but to do w T hat I have to do — which will be done, 
I can promise you. The rest of your " Beethoven," of 
which you speak, has never reached me, and for six 

* Merle ; means also a whistling or hissing fellow. 

f Oblique owls; the term is repeated afterwards, and evidently 
refers to some joke, or else to some remark of Lenz's. — Translator's 


months past I have not had any news of B., who, 
I am afraid, finds that he is clashing with some rather 
difficult editorial circumstances, but from which I pre- 
sume he will have the spirit to free himself satisfactorily. 
A propos of Beethoven, here is Oulibichefif, who has 
just hurled forth a volume which I might well compare 
with the dragons and other sacred monsters in papier- 
mache, with which the brave Chinese attempted to 
frighten the English at the time of the last war. — The 
English simply replied by bombs, which was the best 
mode of procedure. If I find time in the course of the 
summer, I shall answer Oulibicheff very respectfully 
in a brochure which may be a pretty big one. For the 
moment I am still pinned to my bed by a lot of boils 
which are flourishing on my legs, and which I consider 
as the doors of exodus for the illness which has been 
troubling me rather violently since the end of October. 

Mr. Stassoff, having written to me about Mr. Seroff, 
1 wrote him word quite lately that I should have real 
pleasure in making acquaintance with the arrangement 
for two pianos of Beethoven's later Quartets, etc. As 
soon as he lets me have them I will examine them 
with all the attention that such a w r ork merits, and 
will write him my opinion, such as it is, with sincerity. 
As to the question of the edition, that is not so easy 
to solve as you seem to think. I wrote to Mr. Stassoff 
that arrangements for two pianos, which are the only 
ones that give a suitable idea of certain works, have 
very little currency with the public, as it is very rare 
to find two instruments with most amateurs. In spite 
of this, if, as I am inclined to think, Mr. SerofFs work 
answers to the eulogies you pronounce on it, I shall 


try to find him a publisher, and ask you only to get 
Mr. Serofif to let me know what sum he expects. 

Why, dear friend, don't you decide to make a trip 
to Germany, and to come and see me at Weymar ? 
I asked you this three years ago, and I again assure 
you that such a journey would not be without use to 
you. It is in vain for you and Oulibicheff to enumerate 
the advantages and improvements of Russia in musical 
matters ; people who know anything of the matter will 
beware of taking you literally. Art at Petersburg can 
only be an accessory and a superfluity for a long time 
to come, in spite of the very real distinction and, if 
you will, even the superiority of some persons who 
work at it with predilection, and who reside there. 
Proofs abound in support of this opinion, and could 
not be so soon changed. 

Believe me, my dear Lenz, if you wish to get to 
know the heart of the musical question, come to Germany 
and come and see me. 

Meanwhile don't trouble yourself any more than I 
do about either " merles " or " obliques hiboux " ; go on 
familiarising yourself with the smiles and glances of 
your " chimera" and believe me your most sincerely 
affectionate and devoted 

F. Liszt. 
Weymar, March 24th, 1857. 

180. To Eduard Liszt. 

Best and excellent Eduard, 

At last I send you the pianoforte edition of the 
Mass, which I could not get in order sooner, much 
as I wished to do so, parti}' owing to the excess of 


matters, letters, and business which have been pressing 
upon me, and partly also on account of my illness, 
which has obliged me to keep my bed for more than 
three weeks past. As regards the edition, which can 
be got up in two st}des, according to whether one wants 
it to be economical or luxurious, I send you word of 
all that is necessary on the accompanying note-sheet 
(first page of the score — written b}^ my hand), and beg 
you, best friend, to use your influence to get the proofs 
sent to me and to get the work published as quickly as 
possible. 1 

Your last letter was again a great pleasure to me, 
owing to your loving comprehension of my works. 
That in composing them I do not quite work at hap- 
hazard and grope about in the dark, as my opponents 
in so many quarters reproach me with doing, will be 
gradually acknowledged by those among them who 
may be honest enough not to wish entirely to obstruct 
a right insight into the matter through preconceived 
views. As I have for years been conscious of the 
artistic task that lies before me, neither consistent 
perseverance nor quiet reflection shall be wanting for 
the fulfilment of it. May God's blessing, without 
which nothing can prosper and bear fruit, rest on my 
work ! — 

I have read with attention and interest the dis- 
cussions in the Vienna papers, to which the per- 
formance of the Preludes and the concert gave rise. As 
I had previously said to you, the doctrinaire Hanslick 
could not be favourable to me ; his article is perfidious, 

1 The Gran Mass. 


but on the whole seemly. Moreover it would be an 
easy matter for me to reduce his arguments to nil, and 
I think he is sharp enough to know that. On a better 
opportunity this could also be shown to him, without 
having the appearance of correcting him. I suppose 
the initials C. D. in the Vienna paper mean Dorffl — or 
Drechsler ? No matter by whom the critique is written, 
the author convicts himself in it of such intense narrow- 
ness that he will be very welcome to many other people 
less narrow than himself. His like has already often 
existed, but is constantly in demand. The musician 
nowadays cannot get out of the way of all the buzzing. 
Twenty years ago there were hardly a couple of musical 
papers in Europe, and the political papers referred 
only in the most rare cases, and then only very briefly, 
to musical matters. Now all this is quite different, 
and with my Preludes, for instance (which, by the way, 
are only the prelude to my path of composition), many 
dozen critics by profession have already pounced on 
them, in order to ruin me through and through as a 
composer. I by no means say that present conditions, 
taken as a whole, are more unfavourable to the musi- 
cian than the earlier conditions, for all this talk in a 
hundred papers brings also much good with it, which 
would not otherwise be so easy to attain ; — but simply 
the thinking and creative artist must not allow himself 
to be misled by it, and must go his own gait quietly and 
undisturbed, as they say the hippopotamus does, in 
spite of all the arrows which rebound from his thick 
skin. An original thinker says, " As one emblem and 
coat of arms I show a tree violently blown by the 
storm, which nevertheless shows its red fruit on all the 


boughs, with the motto, Dum convellor mitescunt ; or 
also, Conquassatus sed ferax." 

When you have an opportunity I beg you to give 
my best thanks to my old friend Lowy for the letter 
he wrote me directly after the performance of the 
Preludes. I know that he means well towards me, in his 
own way, which, unfortunately, cannot be mine, because, 
to me, friendship without heart and flame is something 
foreign ; and I cannot understand, for instance, why at 
the concert in question he did not take his customary 
place, but kept back in a corner, as he tells me. Pray 
when have I given him any occasion to be ashamed of 
me ? Do I not then stand up in the whole world of 
Art as an honest fellow, who, faithful to his conviction, 
despising all base means and hypocritical stratagems, 
strives valiantly and honourably after a high aim ? 
Given that I, deceived by my many-sided experiences 
(which really cannot be estimated as very slight, since 
I have lived and worked through the periods— so 
important for music— of Beethoven, Schubert, Mendels- 
sohn, as well as Rossini and Meyerbeer), led astray 
by my seven years' unceasing labour, have hit upon 
the wrong road altogether, would it be the place of my 
intimate friend, in the face of the opposition which is 
set up against me because I bring something new, to 
blush, hide himself in a corner, and deny me ? You 
did otherwise and better in this, dearest Eduard, and 
your conduct with Castelli was, as ever, perfectly right. 
My few friends may take a good example from you, 
for they assuredly need not let themselves be frightened 
by the concert which the bullies and boobies raise 
against my things. 

o y 


1 have, as usual, thought over your musical remarks 
and reflections. The fourth movement of the Concerto, 1 
from the Allegro marziale, 

T V 



corresponds with the second movement, Adagio :- 

-#- • -*2- 

It is only an urgent recapitulation of the earlier subject- 
matter with quickened, livelier rhythm, and contains 
no new motive, as will be clear to you by a glance 
through the score. This kind of binding together and 
rounding off a whole piece at its close is somewhat my 
own, but it is quite maintained and justified from the 
standpoint of musical form. 
The trombones and basses 

rfov l j _ T , i f — — Ef . . peqcfa: 

take up the second part of the motive of the Adagio 
(B major) : — 


1 No. I, in E7 major. 



The pianoforte figure which follows 

%-m — » — ,-it — S-#--*— T - — v.* 

4r r iir^r^^ ^^fe^ 



is no other than the reproduction of the motive which 
was given in the Adagio by flute and clarinet, 



f *Ft-r 


«- -*- 

: ^ 

;-*-«—« — - 

(Pianoforte shake on G.) 

just as the concluding passage is a Variante [various 
reading] and working up in the major of the motive of 
the Scherzo, 

until finally the first motive 


« v — *-—. — j0 * & ' — * — w—^rj — ■ — 

on the dominant pedal B ? f with a shake accompaniment, 

m . . >* m « U L etc - 

comes in and concludes the whole. 

The Scherzo in E? minor, from the point where the 
triangle begins, I employed for the effect of contrast. 



As regards the triangle I do not deny that it may 
give offence, especially if struck too strong and not 
precisely. A preconceived disinclination and objection 
to instruments of percussion prevails, somewhat justified 
by the frequent misuse of them. And few conductors 
are circumspect enough to bring out the rhythmic 
element in them, without the raw addition of a coarse 
noisiness, in works in which they are deliberately 
employed according to the intention of the composer. 
The dynamic and rhythmic spicing and enhancement, 
which are effected by the instruments of percussion, 
would in more cases be much more effectually produced 
by the careful trying and proportioning of insertions 
and additions of that kind. But musicians who wish 
to appear serious and solid prefer to treat the in- 
struments of percussion en canaille, which must not 
make their appearance in the seemly company of the 
Symphony. They also bitterly deplore, inwardly, that 
Beethoven allowed himself to be seduced into using 
the big drum and triangle in the Finale of the Ninth 
Symphony. Of Berlioz, Wagner, and my humble self, 
it is no wonder that " like draws to like," and, as we 
are treated as impotent canaille amongst musicians, it 
is quite natural that we should be on good terms with 
the canaille among the instruments. Certainly here, 
as in all else, it is the right thing to seize upon and 
hold fast [the] mass of harmony. In face of the 
most wise proscription of the learned critics I shall, 
however, continue to employ instruments of percussion, 
and think I shall yet win for them some effects little 

I hear from Paris that at all the street corners there 


they are selling a little pamphlet for a sou entitled 
" Le seul moyen de ne pas mourir le 13 Juin a 
l'apparition de la Comete." * The only means is to 
drown oneself on the 12th of June. Much of the good 
advice which is given to me by the critics is very like 
this seul moyen. Yet we will not drown ourselves — 
not even in the lukewarm waters of criticism — and will 
also for the future stand firm on our own legs with 
a good conscience. 

I had still much more to say to you, but the letter 
has become so long that I should not like to take up 
any more of your time. It is to be hoped that we 
shall see each other in the course of this summer, 
when we shall be able again to talk over everything 
to our hearts' content. Meanwhile I thank you again 
warmly for your friendship, and remain yours from my 

F. Liszt. 

What you tell me of your idea for Daniel x is very 
agreeable and soothing. I must beg the Princess to 
correspond with you in reference to the matter. My 
decision to send D. to Vienna, in order to finish his 
law there, and to entrust him to your protection, is 
pretty much unchanged. 

Weymar, March 261/1, 1857. 

In the next number of Brendel's paper appears a 
long letter from R. Wagner on my individuality as a 
composer, which will be of interest to you. 

* "The only means how not to die on the 13th of June at the 
appearance of the comet."' 
1 Liszt's son. 


181. To Georg Schariezer, Vice-President of the 
Church Musical Society at the St. Martin's 
Coronation Church in Pressburg.* 

Dear Sir, 

The friendly intention of the highly renowned 
Pressburg Kirchenmusikverein [Church Musical Society] 
to give a performance of my Missa Solemnis is an 
uncommon pleasure to me, and I send Your Honour 
my special thanks for the kind letter with which you 
have honoured me in the name of the Kirchenmusik- 
verein. Much as I should like to meet your wishes 
without any ceremony, and to send you the score and 
parts at once, yet I am constrained to beg for a long 
delay, for the reason that the score, together with the 
pianoforte arrangement, is obliged to remain for some 
months longer in the Royal State Printing House in 
Vienna, and I cannot get the parts copied out afresh 
until the publication of the work next September. 
The copies which were used at Gran and Prague have 
been lost, and several essential alterations which I 
have finally made in the score necessitate the making 
of an entirely new copy. 

I hope, however, that you, dear sir, as well as the 
K.-M.-V., will continue your kind intention towards 
me, whereby I may have the prospect of my Mass 
being performed by you later on. If I am not quite 

* From a copy of Herr Stadthauptmann Johann Batka in Press- 
burg. — The' Church Musical Societj^ which has been in existence 
since 1833, and which undertakes the performance of classical in- 
strumental Masses during the service every Sunday and saint's day, 
performed Beethoven's Grand Mass as early as 1835, and many times 
since, and has given Liszt's Gran Mass every year since 1S72. 


mistaken, the Church element, as well as the musical 
style of this work, will be better understood and more 
spiritually felt after frequent performances than can be 
the case at first in the face of the prevailing prejudice 
against my later compositions, and the systematic 
opposition of routine and custom which I have to meet 
with on so many sides. Thus much I may in all 
conscientiousness affirm, that I composed the work, 
from the first bar to the last, with the deepest ardour 
as a Catholic and the utmost care as a musician, and 
hence I can leave it with perfect comfort to time to 
form a corresponding verdict upon it. 

As soon as the score comes out I shall have the 
pleasure of sending Your Honour a copy ; and should 
your present design perhaps come to pass in the 
spring, I shall be delighted to be present at the 
performance, and to conduct the final rehearsals myself. 

Accept, dear sir, my best thanks, together with the 
expression of my high esteem. 

Yours most truly, 

Franz Liszt. 

Weymar, April 2$th, 1857. 

182. To Eduard Liszt. 

Dearest Eduard, 

I have been thinking over the matter of support- 
ing the voices by some wind instruments and brass 
in my Mass for men's voices, without being able to 
make up my mind to write out this accompaniment. 
1 ought properly to hear the Vienna chorus in order 
to hit the right proportion, which is very various, 


according to the size of the church, and also the class 
of instruments, and the less or greater ability of the 
musicians. It would be very agreeable to me if 
Herbeck, who appears to take an interest in my work, 
would take the decision upon himself according to what 
he thinks best, and would either keep in the printed 
organ accompaniment, or write a small additional score 
as support to the voices. In the latter case I think 
that horns, clarinets, oboes, and bassoons cannot be 
dispensed with, and that probably trombones would 
also make a good effect in the Kyrie and Credo. 

Remember me most kindly to Herbeck, and tell him 
my idea as well as my request. In the studying of 
the Mass he will best ascertain which passages most 
require a supplement-accompaniment. 

Owing to my long-continued illness, which obliges 
me for the most part to keep my bed, I have not yet 
been able to hear his Quartet, which he was so good 
as to send me ; but I shall shortly give it over to our 
excellent Quartet Society (Singer, Cossmann, Stor, 
Walbrtihl) for a performance. 

By to-day's post I send you an alteration in the 
Agnus Dei of my Gran Mass, which I beg you to hand 
to the compositor. The voice parts remain as before, 
but in the pauses I make the first subject come in 
again in the basses, which makes the movement more 
completely one whole. The compositor must work by 
this proof for the whole Agnus Dei, and only revert 
to the general score where the " Dona nobis pacem " 
(Allegro moderato) comes in. 

Wagner's letter has been published in a separate 
form, and you will receive several copies of it, as I 


believe you take interest in it, and will make a good 
use of it. 

The Princess has been a prisoner to her bed for 
more than three weeks, and is suffering from acute 
rheumatism. Princess Marie has also been poorly, so 
that the whole house has been very dismal. The last 
few days I have pulled myself together, and have had 
my choruses to Herder's Prometheus performed, which 
have unexpectedly made a very good impression, and 
were received with unusual sympathy. In the course 
of the summer I shall have the whole work printed. 
The eight choruses, together with the [spoken] text, 
which has been skilfully compiled after Herder and 
iEschylus, 1 and the preliminary Symphonic Poem 
(No. 5 of those published by Hartel), take about an 
hour and a half in performance. If I am not mistaken, 
the work will, later on, approve itself in larger concerts. 

About the 15 th May I shall be going to Aix-la- 
Chapelle, to conduct the Musical Festival there at Whit- 
suntide. That will be another good opportunity for 
many papers to abuse me, and to let off their bile ! — If 
the programme which I shall put forward is realised at 
the September Festival you must come here and hear 
it with me. 

My mother writes from Paris that Blandine has 
been living with the Countess d'A. since the 20th of 
this month. Cosima's marriage with H.von Biilow will 
probably take place before September. About Daniel 
the Princess will write to you fully when she is better. 

God be with you and yours. Yours from my heart, 

[Weimar, April 27th, 1857. F. LlSZT. 

1 By Richard Pohl. 

VOL. I. 2 2 


183. To Frau von Kaulbach.* 

Dear Madam, 

I have been encouraged to send you what indeed 
truly belongs to you, but what, alas ! I must send in 
so shabby a dress that I must beg from you all the 
indulgence that you have so often kindly shown me. 
At the same time with these lines you will receive 
the manuscript of the two-pianoforte arrangement of 
my Symphonic Poem Die Hunnenschlacht (written for 
a large orchestra and completed by the end of last 
February), and I beg you, dear madam, to do me the 
favour to accept this work as a token of my great 
reverence and most devoted friendship towards the 

* The letter, together with the following one, written by Kaulbach 
to Liszt in the fifties, was published in the Tagliche Rundschau 
[Daily Review], and afterwards in the Neue Berline Musikzeitung 
[Berlin New Musical Paper] of March 19th, 1 89 1. It is well known 
that Liszt derived his inspiration to write the Hunnenschlacht 
[Battle of the Huns] from Kaulbach's celebrated picture on the stair- 
case of the New Museum in Berlin. He intended to work up the 
six pictures of Kaulbach's which are there, in a similar symphonic 
manner, probably for theatrical performance in Weimar. Dingelstedt 
appears also to have planned an after-poem in verses. Kaulbach's 
letter to his friend is as follows: "Your original and spirited idea — 
the musical and poetic form of the historical pictures in the Berlin 
Museum — has taken hold of me completely. I much wish to hear 
yours and Dingelstedt's ideas of this performance. The representa- 
tion of these powerful subjects in poetical, musical, and artistic form 
must constitute a harmonious work, rounded off into one complete 
whole. It will resound and shine through all lands ! ! — I shall there- 
fore hasten to Weimar, as soon as my work here will let me free. — 
With the warmest regards to the Princess, that truly inspired friend 
of Art, and to her charming daughter, from myself and my wife, I 
remain, in unchangeable respect and friendship, 

" Your faithful 

" W. Kaulbach." 



Master of masters. Perhaps there may be an oppor- 
tunity later on, in Munich or Weymar, in which I can 
have the work performed before you with full orchestra, 
and can give a voice to the meteoric and solar light 
which I have borrowed from the painting, and which 
at the Finale I have formed into one whole by the 
gradual working up of the Catholic chorale " Crux 
fidelis," and the meteoric sparks blended therewith. 
As I already intimated to Kaulbach in Munich, I was 
led by the musical demands of the material to give 
proportionately more place to the solar light of Chris- 
tianity, personified in the Catholic chorale " Crux 
fidelis," than appears to be the case in the glorious 
painting, in order thereby to win and pregnantly re- 
present the conclusion of the Victory of the Cross, 
with which I, both as a Catholic and as a man, could 
not dispense. 

Kindly excuse this somewhat obscure commentary 
on the two opposing streams of light in which the 
Huns and the Cross are moving; the performance will 
make the matter bright and clear— and if Kaulbach 
finds something to amuse him in this somewhat ven- 
turesome mirroring of his fancy I shall be royally 

Through Dingelstedt, whom our Grand Duke is 
taking away from Munich, you have heard the latest 
news from Weymar, and I have, alas ! only bad news to 
give you of the Princess W. For many weeks she has 
been confined to bed with acute rheumatism, and it is 
hardly likely that she will be restored to health before 
my departure for Aix-la-Chapelle towards the middle 
of May. 


Allow me, my dear lady, to beg you to give Kaulbach 
my warmest and most hearty thanks for the wonderful 
sketch of Orpheus with which he has honoured and 
delighted me ; and once more begging you to pardon 
me for the dreadful scrawl of my manuscript, I remain 
yours with all respect and devoted friendship, 

F. Liszt. 

Weymar, May 1st, 1857. 

184. To Fedor von Milde, KaMMERSANGER * IN 
Weimar. 1 

Dear Friend, 

I cannot refuse myself the pleasure of letting 
you know of the really extraordinary success, not 
made up, but thoroughly effectual and brilliant, of your 
wife. 2 Cologne, Diisseldorf, Bonn, Elberfeld, and the 
entire neighbourhood agree with Aix-la-Chapelle that 
your wife made the festivity of the Musical Festival ; 
and although success cannot as a rule be considered 
as a criterion of artistic worth, yet if it be attested so 
truly and de bon aloi as in this case, and follow that 
artistic worth, it has something refreshing and strength- 
ening in which we, in trio, can fully rejoice. 

A speedy meeting to us, and friendly greetings and 
thanks from 

Yours ever, 

F. Liszt. 

Aix-la-Chapelle, Wednesday, June yd, 1857. 

* A singer in the service of a prince. 

1 An excellent Wagner singer. The first Tclramund in Lohengrin. 

2 Rosa, ne'e Agthe, trained by Franz Gotze. 



Weymar, June 12th, 1857. 

Dear Sir and Friend, 

On my return from the Aix-la-Chapelle Musical 
Festival — which may be considered successful on the 
whole, from the very fact that opponents do not conceal 
their dissatisfaction— I find here your kind letter, for 
which I send you my warmest thanks. My excellent 
cousin and friend, Dr. Eduard Liszt, had already informed 
me of your kind willingness to undertake the instrumen- 
tation of my Vocal Mass : I am entirely in accord with 
the various sketches you so kindly lay before me in your 
letter, and only beg you, dear sir, to complete this work 
according to your own best judgment, without any 
small considerations. I certainly should not wish the 
organ to be absent from it, but it is a perfectly correct 
idea to give those passages in the Kyrie, Suscipe depre- 
cationem, Crucifixus, and others besides, 


to the wind exclusively. When I expressed to my 
cousin my wish to place the instrumentation of the Mass 
in your hands, it was because I was convinced before- 
hand of the excellence of your work. The examples 
which you have given me in your letter show me that 
I was not wrong, and I shall rejoice most sincerely 
when the moment arrives for us to go through the 
whole score together. Eduard intends to visit me 
here towards the end of August, and if it is possible 


for you to come to Weymar at the same time with him, 
and to stay a few days in my house, it will be very 
agreeable to me. 

On the 3rd, 4th, and 5 th September the Jubilee 
festivities of the Grand Duke Carl August will take 
place here, on which occasion I propose to perform 
several of my later orchestral compositions, and also 
the chorus "An die Kunstler."* Eduard will give you 
a more detailed programme of the Festival later on. 
Should you, however, be prevented from being present 
at it, it needs no special assurance to you that your 
visit will be very welcome to me any day, and I will 
do my best that you shall not suffer from ennui in 
Weymar. 1 

May I also beg you to send me, when you have an 
opportunity, and if possible very soon, the parts of 
your Quartet, 2 which pleases me so much, and which, 
both in its mood and in its writing of the different 
parts, is so eminently noble and finely sustained. In 
case you have not been able to arrange for the copying 
of the parts, it will be a pleasure to me to get them 
copied here. Our Weymar quartet, Messrs. Singer, 
Stor, Walbruhl, and Cossmann, is competent for this 
work, and you will, I trust, be satisfied with the per- 
formance. Unfortunately Cossmann's illness has pre- 
vented our usual quartet-productions for some months 
past, and Cossmann was also unable to take part in 
the Aix-la-Chapelle Musical Festival. But yesterday 
he told me that in a few days he should be able to take 

* "To Artists." 

1 Herbeck accepted the invitation. 

2 D minor, unpublished. 


up his bow again, and therefore I want them to set to 
work on your Quartet at once. 

To our speedy meeting then, and once more best 
thanks from yours in all friendship, 

F. Liszt. 

i 86. To Countess Rosalie Sauerma, nee Spohr. 

Your letter gave me great pleasure, dear Countess 
and admirable artist, and, though still obliged to keep 
my bed (which I have been able to leave so little during 
the whole winter), I hasten to reassure you entirely 
about my state of health. As a fact, I have never done 
my obstinate illness the honour of considering it serious, 
and now less than ever, for I hope to have entirely got 
over it by the end of the week. So do not let us talk 
about it any more, and let me tell you at once how 
sincerely I rejoice in your projects of being, so to say, 
in the neighbourhood of Dresden, for it seems to me 
that, among the towns of Germany, it is the one in 
which you will find most charm. I shall certainly 
come and pay you my visit there in the course of the 
winter, and I hope also that you will not altogether 
forget your friends of Weymar. 

When you come back here, you will find very little 
change, but simply three more Weymarers — Goethe, 
Schiller, and Wieland — whose statues will be inaugu- 
rated next September, on the occasion of the celebration 
of the Jubilee fetes of the Grand Duke Carl August. 
They are also planning music for the occasion ; and I 
predict to you beforehand that you will be able to read 
all sorts of unflattering things on this subject, as the 


music in question will be in great part my composition. 
However that may be, I shall try to have always 
something better to do than to trouble myself with 
what is said or written about me. 

How delighted I shall be to hear you again, and to 
rock myself as in a hammock to the sound of your 
arpcggi. You have not, I am sure, broken off your 
good habits of work, and your talent is certain to be 
more magnificent than ever. Quite lately Madame 
Pohl, who played Parish Alvars' Oberon Fantaisie 
charmingly, recalled most vividly the remembrance of 
the delightful hours at Eilsen and Weymar, which I 
hope soon to resume at Dresden. ... Be so kind as 
to present my best compliments to your husband and 
all your dear ones, and pray accept, dear Countess, 
the expression of most affectionate homage from yours 
very sincerely, 

F. Liszt. 

Weymar, June 22nd, 1857. 

The Princess W. has been very seriously ill for 
more than two months ; she is only just convalescent, 
and bids me give her best remembrances to you. 

i87. to ludmilla schestakoff, m'c glinka, in 
St. Petersburg. 1 


I wish I were able to tell you how much I have 
been touched by the letter you have done me the 
honour to address to me. Thank you for having 
thought of me as one of the most sincere and zealous 

1 Sister of the celebrated Russian composer Glinka. 


admirers of the fine genius of your brother, so worthy 
of a noble glory for the very reason that it was above 
vulgar successes. And again thank you for the grace 
which prompts you to wish to inscribe my name on 
one of his orchestral works, which are certain to be 
valued and to obtain a sympathetic preference from 
people of taste. 

I accept with a real gratitude the dedication with 
which you honour me, and it will be at once my 
pleasure and duty to do my best towards the propa- 
gation of Glinka's works, for which I have always 
professed the most open and admiring sympathy. Of 
this I beg you, Madame, to receive anew my assurance, 
and to accept the most respectful homage of 

Yours very truly, 
Weymar, October ytk, 1857. F. LlSZT. 

I am writing by the same post to Mr. Engelhardt in 
Berlin to thank him for his letter, and to tell him that 
I feel quite flattered at seeing my name attached to a 
score of Glinka's. 

188. To Carl Haslinger.* 

Dear Friend, 

The writing of notes [music] draws me more 
and more away from the writing of letters, and my 
friends have already much to pardon me in this 
respect. With the best will in the world to fulfil my 
obligations, it is nevertheless impossible for me, owing 
to the countless claims that are made on me, to find 

* Autograph without address in the possession of M. Alfred Bovet 
in Valentigney. — The above was presumably the addressee. 


time to do so. So do not scold me, dear friend, for 
having left your last letter unanswered. I had given 
myself a great deal to do with some manuscripts ; the 
final proofs of the Faust and Dante Symphonies, in 
particular, which will now soon be engraved, had 
occupied me much longer than I expected. The two 
works are now as well finished as I am in a position to 
make them, and will, I hope, hold their position. 

I congratulate you most warmly on the performance 
of your opera. You may safely expect various dis- 
agreeables in connection therewith, which are insepar- 
able from musical work. The great thing is to remain 
cheerful, and to do something worth doing. The 
cuckoo take the rest ! — 

Let me have a talk with you about the Zellner 
matter in Vienna, if, as seems likely, I have to go there 
at the end of May for the performance of my Mass. 
Meanwhile thank you very much for the pains you 
have taken over the proof-sheets of this long-protracted 
work, and I should be glad if the whole were ready to 
come out by the time I reach Vienna. 

Tausig, who is to come out in Berlin at the begin- 
ning of January, will probably come with me. There is 
again a real " bravo," * as Hummel said of me when he 
heard me in Paris in the twenties. 

Will you be so kind as to give the enclosed letters 
to Winterberger and Rubinstein ? How is our friend 
Winterberger getting on in the not very suitable 
atmosphere of Vienna ? Let me know something about 
him soon. Yours ever, 

Weymar, December 5///, 1857. ? • LlSZT. 

* Litcralty, iron-cater. 



Let me give you once more my hearty thanks, 
dear friend, for the delightful day you gave me at 
Sondershausen, which continues so brightly and plea- 
santly in my recollection. The rare consummation 
with which your orchestra solved one of the most 
difficult tasks, and brought "what one hears on the 
mountains " 1 to the impressive understanding of the 
ears in the valley (if not indeed under the water and 
worse still), strengthens me in my higher endeavours, 
— and you, dear friend, will have to bear some of the 
responsibility if I go on writing more such " confused,' 
" formless," and, for the every-day critic, quite " fathom- 
less " things. 

Singer 2 needs no further recommendation from me, 
as he is already known to you as an eminent virtuoso. 
Especially at Court concerts his own refined and 
brilliant qualities are placed in their most favourable 

If it is possible for you to take an opportunity of 
bringing out my dear and extraordinary budding genius 
Carl Tausig 3 at the Court, I promise you that he will 
do honour to your recommendation. 

In all esteem and devotion, yours ever, 

Weymar, December 6lh, 1857. F. LlSZT. 

* Autograph in the possession of M. Alfred Bovet at Valentigney. — 
The addressee, a first-rate conductor (born 1818), lived from 1853 in 
Sondershausen ; died 1864. 

' Liszt's Mountain Symphony. 

'-' A letter from this first-rate violinist is on the same sheet with Liszt's. 

3 " The last of the virtuosi," as Weitzmann called him ; born at 
Warsaw 1841 ; died at Leipzig 1871. 


190. To Alexander Ritter in Stettin. 

Dear Friend, 

Your tidings sound as incredible as they are 
pleasant. And I must admit, what has long been 
proved to me, that you are a valiant and excellent 
friend, and prove your friendship splendidly by the 
success of your venturesome undertaking. Specially 
do I give you my best thanks for the pregnant and 
poetic form which you gave to the Tasso programme. 
Later on, as you have broken the ice in so happy a 
fashion, we can push on with x 

J ^ $Tj+ t JJ^ 

=5^ es^y 

and other such corrupt things in Stettin ! — 

I was not able to attend to your letter about the 
matter of the parts of the Flying Dutchman until after 
my return to Weymar. Herr von Dingelstedt spoke 
to me about the idea in regard to the fee for Wagner 
(from the Stettin Directors), and the reply to you from 
the Secretary Jacobi will be to that effect. If, as I 
presume, you can so arrange that this idea is carried 
out, and that Wagner receives his fee, the parts shall 
be sent you from here. 

I visited your dear sisters many times in Dresden, 
and had some delightful chats with them. 

In Carl's 2 Sonatas, which I have read with much 

1 Beginning of the Symphonic Poem Festklange. 
Carl Ritter. 


interest, there is a decidedly musical germ ; only I hope 
that by degrees more juicy fruit may spring from it. 

Cornelius is bringing his completed opera back to 
Weymar at the end of this month. 1 Lassen, who is 
getting on splendidly with his (" Frauenlob "), has com- 
posed several exquisite songs between whiles. Land- 
graf Ludwig's Brautfahrt * will again be given next 
Sunday, and from New Year (1858) Lassen will act 
as Grand Ducal Music Conductor of Weymar. Gotze 
is retiring from work, and your friend Stor undertakes 
his post as First Music Conductor. Damrosch, your 
successor, has composed a quite remarkable Violin 
Concerto with a Polonaise Finale, with which you will 
be pleased. 

Recall me most kindly to your wife's remembrance, 
as one who remains ever 

Yours in all affection and devotion, 

F. Liszt. 

Weymar, December yth, 1857. 

191. to capellmeister max v seifriz at lowenberg.f 

Dear Herr Capellmeister, 

With my very best thanks for your friendly 
letter I send you, according. Lo your wish, the score of 
the Prometheus choruses. For the present I am not 
requiring it, and send it you with great pleasure, so 

1 Doubtless Der Barbiev von Bagdad. 

* Landgrave Lndwigs Bridal Journey, an unpublished opera of 

f Autograph in the possession of Herr Alexander Meyer Cohn in 
Berlin. — The addressee (1827-85) was, after* 1854, conductor to Prince 
Hohenzollern-Hechingen at Lowenberg in Silesia, until the latter's 
death in 1869, when he became Court Conductor in Stuttgart. 


that you may be able to read it through at your ease. 
I fear, alas ! that the difficulty of some of the intonation 
in the first choruses may make the studying of it 
a rather detailed matter to you. Such irksomeness 
unfortunately attaches to all my works, not excepting 
the Ave Maria, which I might nevertheless venture to 
recommend to you next, if you have any intention of 
performing a vocal work of my composition. It was 
published by Breitkoff & Hartel (score and parts), and 
has been pretty favourably received at various per- 
formances of it. 

I wrote yesterday to His Royal Highness, and 
expressed my special thanks for the kind attention 
in inviting Herr von Billow during my stay at L. 
I rejoice immensely at the thought of these days, in 
which musical matter will by no means be wanting 
to us. Meanwhile remember me most kindly to your 
orchestra, which preserves so well its high renown, and 
accept, my dear sir, the assurance of high esteem with 
which I remain 

Yours in all friendship, 

F. Liszt. 

Weymar, December 24th, 1857. 

In the early part of April you shall hear when I am 
coming to Lowenberg. 

192. To Alexander Seroff. 

My dear Sir, 

By what I said in the Neue Zeitschrift filr 
Musik, l on New Year's Day, of your remarkable 

' 1858, No. 1, in the article " Oulibicheff und Seroff." 


articles on Oulibicheff, you will have seen to what 
point I take your ideas into consideration, and how 
closely we meet in our musical convictions. To the 
sincere eulogies which I have had much pleasure in 
addressing to you in public, it remains to me to add 
those which I owe you for the conscientious work that 
you have had the kindness to communicate to me by 
sending me the pianoforte score of Beethoven's Quartet 
in C sharp minor. Without the least exaggeration, 
I don't think anything of its kind could have been 
better done, as much on account of the intelligent 
division of the parts between the two pianos, as by 
the skill with which you have appropriated to the 
piano the style of this Quartet, without forcing or dis- 
figuring anything. 

In this latter task there are without doubt some 
impossibilities which one cannot fail to recognise, and, 
whatever effort we may make, we shall never succeed 
in rendering on our instrument either the intensity or 
the delicacy of the violin bow. In the same manner 
the colouring, and the fine nuances of the violin, viola, 
and violoncello will always escape us — but in spite of 
this it is due to you in justice to recognise that your 
work identifies itself as far as possible with the senti- 
ment and thought of the original, and that you have 
frequently succeeded in supplementing the poverty and 
defects inherent in such an arrangement. 

About six weeks ago I sent your manuscript to 
Mr. Schott, the editor, at Mainz, recommending him to 
publish your arrangement. Up to the present time 
I have received no reply, which, however, seems to 
me a good sign. As soon as ever I hear his de- 


termination I will let you know. Possibly in the 
course of the summer you will find a few weeks' 
leisure to make a journey into these parts and to bring 
us the complete collection of your arrangements of 
Beethoven's latter instrumental works. In that case 
let me beg of you, my dear sir, not to forget me, and 
to rest assured beforehand of the lively interest that I 
shall take in your work, which it would be doubly inter- 
esting to me to go through with you. Bearing in mind 
the original, we should probably find, between us, some 
details to modify previous to a definite publication. 

For to-day allow me to thank you once more, my dear 
sir, very cordially for having associated me in thought 
with your beautiful work, and pray accept the expression 
of very sincere and affectionate regard of 

Yours very truly, 

F. Liszt. 

Weymar, January 8th, 1858. 

193. To Basil von Engelhardt. 1 


Whilst giving you my very sincere thanks for 
so kindly sending me the Glinka scores published by 
your friends, I am much pleased to be able at the same 
time to inform you that the Capriccio on the melody 
of the " Jota Aragonese " has just been performed (on 
New Year's Day) at a grand Court concert with most 
complete success. Even at the rehearsal the intelligent 
musicians whom I am proud to count among the 
members of our orchestra had been both struck and 

1 A very intelligent musical amateur, a friend of Glinka's, and 
publisher of several of his works. 


delighted by the lively and piquant originality of this 
charming piece, so delicately cut and proportioned, and 
finished with such taste and art ! What delicious 
episodes, cleverly joined to the principal subject 
(Letters A and B) ! What fine nuances and colouring 
divided among the different timbres of the orchestration 
(Letters C to D) ! What animation in the rhythmic 
movement from one end to the other ! How the 
happiest surprises spring constantly out of the logical 
developments ! and how everything is in its right place, 
keeping the mind constantly on the watch, caressing 
and tickling the ear by turns, without a single moment 
of heaviness or fatigue ! This is what we all felt 
at this rehearsal ; and the day after the performance 
we promised ourselves to hear it again speedily, and 
to make acquaintance, as speedily as possible, with 
Glinka's other works. 

Will you, my dear musician, be so kind as to renew 
the expression of my gratitude to Madame Schestakoff 
for the honour she has done me in dedicating this work 
to me ? And when you have time, do come and hear it 
with your own ears at Weymar. I can assure you that 
you will not have occasion to regret the troubles of a 
little journey; and were it only the rhythm 

>- & \ i^ppspfepp 

String- / 
Quartett. \ 




1 r "1 1 1 

1 1 

that would be enough to make ample amends for them. 
VOL. I. 23 


I beg you, sir, to accept the assurance of my sincere 

F. Liszt. 

Weymar, January Stk, 1858. 

P.S. — I shall be much obliged if you will send me 
two supplementary parts of the quartet (first and 
second violin, viola, and bass) of each of Glinka s works. 

194. To Felix Draseke. 1 

Your articles, 2 which were so universally sug- 
gestive, my dear and valiant friend, have given great 
pleasure to us on the Altenburg. I hope to have an 
opportunity of showing you my gratitude in a lasting 
and abiding fashion. Meanwhile be satisfied with a 
good conscience in having strengthened and sustained 
an honest man in his better purpose. 

I have received through Brendel an invitation to 
Prague, which I shall probably accept for the beginning 
of March. I am delighted to think of seeing you again, 
dear friend, in passing through Dresden, and perhaps 
you might make it possible to accompany me to Prague. 
The Dante Symphony and the Ideate are again to be 
given there, and, if I am not mistaken, you will rather 
like the former work in its present shape. The 
Dresden performance was a necessity to me, in order 
to realise its effect. As long as one has only to do 
with lifeless paper one can easily make a slip of the 
pen. Music requires tone and resonance ! — I cannot 

1 Now professor at the Dresden Conservatorium, a well-known 
composer of importance, also a writer on music (born 1835). 

2 Published in the paper started by Brendel, Hints [or Suggestions]. 


at first lay claim to effectual results, because I have 
to meet too much opposition. The chief thing is that 
my present works should prove themselves to be taking 
a firm footing in musical matters, and should contribute 
something towards doing away with what is corrupt. . . . 

What is Reubke 1 doing, and how does he like 
Dresden ? — Take him most friendly greetings from me. 
By-the-by ask him also to give me tidings as soon 
as possible (through Herr Menert) about the copying 
of the orchestral parts of the Rubinstein Oratorio 
Paradise Lost, and to get Herr Menert to send me 
these parts to Weymar by the end of this month at 
latest. It is to be hoped that Reubke won't have left 
the score in his box like Pohl ! But if by chance he 
has committed such a transgression I beg that he 
will make amends as speedily as possible. 

Fischer (the organist) wrote to me lately, to ask me 
for a testimonial to his musical ability, as he wants 
to have one to show in« Chemnitz. Please to make my 
friendly excuses to him for not fulfilling his wish — 
possibly, in view of the enmity which I have to bear 
on all sides, such a document would do him more harm 
than good ; apart from the fact that I very unwillingly 
set about drawing up such testimonials. He must not, 
however, misconstrue this disinclination on my part, 
and may rest assured of my readiness to be of use 
to him. — 

I would still draw your attention to Bronsart's con- 
cert in Leipzig. It will take place in a few days, and 
if you can get free I invite you to it. Bronsart is a 
very dear friend of mine ; I value him as a character 

1 A pupil of Liszt's. 


and as a musician. If you go to Leipzig go and see 
him ; he will please you, and will receive you in the 
most friendly manner. He is a friend of Billow's. 
Both names have the same initials, and for a long 
time Bronsart signed himself " Hans II." in his letters 
to me. — 

In the virtuoso line we have lately been hearing 
Sivori and Bazzini here several times. The latter is 
now in Dresden ; I told him that Reubke would per- 
haps call on him. Get Reubke to do so, and assure 
him that he will be most friendlily received. A well- 
known piece of Bazzini's, "La Ronde des Lutins," was, 
by a printer's error, called " Ronde des Cretins ! " * What 
an immeasurably large public for such a " Rondo"! 
If only half of them would become subscribers to the 
Anregnngen {Hints) ! 

Once more a thousand thanks, dear friend, for your 
courageous battling ; I on my side will endeavour not 
to let us have to acquiesce with too overpowering a 
modesty !f Yours ever, 

F. Liszt. 

[Weimar,] Sunday, January lol/i, 1858. 

195. To Louis Kohler. 

My very dear Friend, 

A few days ago I received a letter from Konigs- 
berg, signed by a gentleman unknown to me. By 
chance this letter has got lost, and I cannot myself 
remember the exact name. But, as your name was 
mentioned in it, I beg you to be so good as to let 

* "Rondo of Idiots." 

f An untranslatable pun on the words " bescheiden" and " Bescheiden- 


Herr * * * know that I do not possess the arrangement 
of the second movement of my Faust Symphony made 
by Zellner in Vienna for pianoforte, violin, harp, and 
harmonium, and that consequently I cannot hand it 
over to him. Besides this, I do consider such a 
fragmentary performance of this work of mine, which 
stands in such bad credit with the critics, as rather 
unsuitable, and would not advise any concert-giver, 
and still less any concert-directors, to smuggle into a 
programme my name so challenged as a composer. 
How long this curious comedy of criticism will last I 
am unable to determine ; anyhow I am resolved not 
to trouble my head about the cry of murder which is 
raised against me, and to go on my way in a consistent 
and undeterred fashion. Whether / shall be answer- 
able for the scandal, or whether my opponents will 
entangle themselves in the scandal, will appear later. 
Meanwhile they can hiss and scribble as much as they 
please. In the course of the summer my Faust and 
Dante Symphonies will be published by Hartel, together 
with a couple of new Symphonic Poems. The Faust 
Symphony is dedicated to Berlioz, and the Dante to 
Wagner. I am sending them to you, dear friend, with 
the two pianoforte arrangements, with the risk that 
nothing will please you in them, which however will 
not prevent us from being good friends. You may 
rest assured that I shall always be grateful to you for 
the friendliness you have shown me in past years, and 
that I would never attempt to compromise you with 
my future. For the latter I alone can and must care. 

Please then make my best excuses to Herr * * *, 
whose kind letter has, alas ! cost me much useless 


searching, and continue your personal well-wishing to 

your ever faithful friend (though fallen in musical 

esteem and under your ban), 

F. Liszt. 

Weymar, February \st, 1S5S. 

196. To Professor L. A. Zellner in Vienna. 

You may believe me, dear friend, when I tell 
you that all the disagreeables and vexations which the 
preparations for the performance of my Mass 1 draw 
upon you are the most acutely felt by myself. Do 
you really think it is desirable to go against trifles 
of this sort and openly to fight them ? I should 
not like to decide this a distance) but I promise you 
that I will not leave you in the lurch if in the end 
the indispensable invitation to me follows. The concert 
at Prague is to take place on the 12th of March, 
and I invite you to it. Then after that I can travel 
with you on the 14th to Vienna or return to Weymar. 
But I hope the former. I have nothing whatever 
to say against the invitation of the Pest singers, 
because the four persons have remained in my friendly 
remembrance. Yet I must remark that the performance 
of the solos in my Mass offers no special difficulties, 
and that consequently it could be quite suitably and 
satisfactorily given by Vienna singers, which seems 
both simpler and pleasanter. Herr Dr. Gunz, Herr 
Panzer, and Fraulein Huber are quite satisfactory to 
me as soloists, as also Fraulein Friedlowsky, of whom 
I have heard the highest praise as Elizabeth. The 
tenor and alto are the chief people concerned, as they 

1 The Gran Festival Mass. 


have the principal subject in the Kyrie and Benedictus. 
If we have two rehearsals with pianoforte, which I 
shall have great pleasure in holding with the ladies 
and gentlemen myself, we shall thoroughly get to the 
bottom of it ; and if the singers have steadfastness 
enough to make an effect with their part the thing 
will go of itself. 

With regard to the chorus and orchestra I reserve 
it to myself to express my thanks to Hellmesberger 
and the chorus-directors in writing, as soon as I have 
definite tidings. But to you, dear friend, I can only 
repeat that he who will understand me loves me also 
— and that I remain, 

Yours in all friendship, 

Weymar, February St/i, 1858. F. LlSZT. 

197. To Peter Cornelius in Mainz. 

[Weimar,] February igth, 1858. 

It is very bad, dearest Cornelius, that you have 
so long forsaken us ! Much as I must approve of your 
decision to finish writing your Opera 1 completely, yet 
1' am dreadfully sorry to be without you for so many 
months. I did hope that you would be with us on the 1 8th 
of February for certain ; now you announce yourself for 
the middle of March, at which time I shall probably 
not be here. On the 12th of March I conduct a concert 
at Prague, at which the Ideale and the Dante Symphony 
will be given. Thence I proceed to Vienna, and later 
to Lowenberg (in Silesia) to my noble and most 
amiable patron Prince Hohenzollern-Hechingen, who, 

1 Dcr Barbie r von Bagdad. 


in spite of political changes, has not only retained his 
Hechingen orchestra, but has also increased it by fresh 

I wish I could give you better tidings of my work, 
best friend, than I am able to do. The last few 
months have passed without my being able to do any 
steady work at my writing. I have merely sketched 
and patched. 

By May will appear a new edition of the Kiinstler- 
Chor (with some important simplifications and im- 
provements), and shortly after that the volume of my 
" Gessammelte Lieder " * (about thirty), one or two of 
which will not be displeasing to you. I shall not be 
able to set to the working out of my Elizabeth till 
my return from Vienna. 

The three songs [by Cornelius] (dedicated to Princess 
Marief) are charming and excellent. There is in them 
such a refined and true proportion in union with such 
fervent and ardent mood that other people besides the 
author must love them. 

In order to make no break in my wonted fault- 
finding, I observe that in the fifth bar of the first song 


Kampf und Lust 

-m- -m- -m- * 

the A b is to - _^S 
me more ^- g— j-g. 
agreeable — - L - l ' 
than G. ~ ' 


* " Collected Songs." 

f Princess Wittgenstein, now Princess Hohenlohe in Vienna. 


The carrying out of the motive in the second song 


^^4-1— H^Igg p 

(page 2, last line, and page 3) you have done most 
happily — also the moonlight conclusion of it, 

and the poetic delineation of the last verse in the third 
song (in which the rests in the voice part and the 
motive in the accompaniment, enlivened by the rhythm, 1 
make an excellent effect) : — 

"Wenn mein Lied zu Ende geht, 
Sing ich's weiter in Gedanken, 
Wie's im Wald verschwiegen weht, 
Wie die Rosen sich umranken ! " i 

Well and good, dearest Cornelius, and now some 
more soon, let me beg of you ! Don't make too long 
pauses «s in your hermitage, and allow us to tell you 
and prove to you how truly we love you. 

F. Liszt. 

P.S. — About two months ago I at last sent Schott 
the proofs of the second year of the Annees de Pclerin- 
age, together with the manuscript of Seroff's arrange- 

1 Here follows in the original an illegible sign. In the song there 
come in here, in place of the quaver movement which has prevailed 
hitherto, some long-sustained chords in the accompaniment, which 
are again interrupted by the quaver movement. 

* "When my song is ended quite, 
Yet in thought I still am singing, 
As the wood at silent night 
Echoes from the day is bringing!" 


ment for two pianofortes of Beethoven's C ~ minor 
Quartet. Will you be so good as to get Schott to let 
me know the fate of the C £ minor Quartet ? Although 
two-piano arrangements are somewhat thankless articles 
of sale, yet perhaps Schott may manage to bring out 
this Quartet, of which I should be very glad. 

Don't forget, dearest friend, to remind him that he 
has left my letter about this matter hitherto unanswered 
— and I should be glad to let Seroff know something 

198. To Dionys Pruckner in Munich. 

Lohengrin be thanked that I hear something 
from you again, dear Dionysius, and I give you my 
best thanks that you wrote to me directly after the first 
performance, and thus gave me fresh good tidings. 1 
What criticism will emit about it by way of addition 
troubles me little — in our present circumstances its 
strength consists mainly in the fear which people have 
of it ; and, as the Augsburg gentlemen renounce all 
claim " to wish to teach us," nothing remains for us but 
to teach ourselves better than they can do it. 

Ad vocem of the severe gentlemen of Augsburg, I 
will send you in a few days Bronsart's brochure 
" Musikalische Pflichten " * (in answer to the " Musikal- 
ische Leiden," f etc.). The A\llgemeine] Z[eitung] only 
made a couple of extracts from it in its columns, and 

1 Namely after the first performance of Lohengrin in Munich, on 
February 28th, 1858. 

* " Musical Duties." Leipzig, Matthes, I S58. 

t " Musical Sufferings." In Nos. 353-55 of the supplement to the 
Augsburg AUgemeine Zcitimg, 1857. 


from these the point was missing. Bronsart exquisitely 
accuses our opponents of ill-will, unfairness, and calum- 
niation. Since they have not succeeded in silencing 
us in a conspicuous manner, they would like to kill 
us insignificantly, for which, however, other weapons 
would be necessary than those which they have at 
their command. 

Meanwhile Bronsart's form of argument will give 
you a pleasant hour, and if, as you tell me, you have 
found in Munich a few comrades of the same mind, 
let the " Musikalische Pflichten " be recommended in 
their circle. 

Amongst other things the assumption of the reporter 
of the A. Z. that Wagner himself had never conducted 
his Lohengrin better than Franz Lachner, appeared 
to me very droll. It is well known that Wagner has 
never heard this work, let alone conducted it \ — 
Ignorance of this kind is, moreover, not the worst on 
the other side, where intentional and unintentional 
ignorance and lies (not to mince the matter) are con- 
tinually being directed against us. 

But enough of that. Let us continue to go on our 
own way simply and honourably, and let the tame or 
wild beasts on our right and left behave as they like ! — 

I have not kept your last letter (during my stay 
in Dresden). Address, up to the 25th of this month, 
to Haslinger in Vienna. I shall get there by the 
beginning of next week, and shall conduct the Gran 
Mass in the Redouten-Saal * on the 22nd and 23rd. 
Next Thursday the Dante Symphony and the Ideale 
will be given here — and on Sunday Tasso (in a Con- 

* Ball-room. 


servatorium Concert). Tausig and Pflughaupt l play my 
two Concertos. 

In the E? major (No. 1) I have now hit on the 
expedient of striking the triangle (which aroused such 
anger and gave such offence) quite lightly with a 
tuning-fork — and in the Finale (Marcia) I have pretty 
nearly struck it out altogether, because the ordinary 
triangle-virtuosi as a rule come in wrong and strike 
it too hard. 

Rubinstein and Dreyschock came to see me in 
Weymar before I left. The latter is intending to go 
to Munich. Go and see him and give him greetings 
from me. 

Write and tell me, dear Dionysius, if I can be of use 
to you in any way, and you may always dispose of 
Yours in all friendship, 

Prague, March 9th, 1858. F. LlSZT. 

P.S. — Give me some tidings about your stay in 
Munich. With whom do you have most intercourse ? 
Do you see many of my friends there — Kaulbach, 
Frau Pacher, etc. ? Do you give lessons ? Are you 
thinking of settling there, or do you intend to make a 
concert tour, and if so, where ? — Send me also your 
exact address. 

199. To Eduard Liszt. 

Dearest Eduard, 

Hearty thanks for your few lines. 
The letter of invitation has not yet arrived. It goes 
without saying that I shall accept it ; and as soon as 

1 A pupil of Henselt and Liszt (1833-71). 


I know in what form and to whom I have to reply, 
I shall write at once. Meanwhile I intend to reach 
Vienna on Monday, or Tuesday at latest. After to- 
morrow's concert (with Dante and the Ideale) there is 
still a Conservatorium Concert to come off on Sunday 
at midday, at which I shall conduct Tasso, and also 
my first Concerto will be played by Herr Pflughaupt. 
I shall either start for Vienna at once that same even- 
ing, or else on Tuesday early. Will you be so good 
as to order me rooms, as before, in the Kaiserin von 
Oesterreich * hotel ? I am bringing Tausig with me, 
whose acquaintance you will like to make. 

Yours in spirit, and by the ties of flesh and blood, 

F. Liszt. 

Prague, Wednesday early, March 10th, 1858. 

I received the five hundred gulden all right — and 
also the big bill, which was a pleasant surprise to me, 
for when I left Weymar I had made up my mind to 
give up all claim to it. Now that it has come, however, 
it must be something good ! — I promise you this, that 
we shall not disgrace ourselves, and shall even surpass 
the expectations of our very few friends ! — 

200. To Frau Dr. Steche in Leipzig. 

Vienna, March 20th, 1858. 

How many excuses I owe you, my dear lady 
and kind friend, for all the trouble and disagreeables 
that the Preludes have occasioned you ! I can really 
scarcely pardon myself for having written the piece ! — 
When the Princess informed me of your kind intention 

* Empress of Austria. 


I wrote to her that a performance of my things in 
Leipzig appeared to me untimely, and that I was 
resolved to let them fall into oblivion rather than to 
importune my friends with them. Hence the hetero- 
geneousness of the letters and telegrams to you, dear 
madam, which I beg you kindly to excuse. Candidly, 
I still think it is better not to have the Preludes per- 
formed now in Leipzig; 1 but I thank you none the less 
warmly for the kind interest you take in my com- 
positions — in spite of their bad name — and take this 
opportunity of repeating to you the expression of high 
esteem and friendly devotion with which I remain 

F. Liszt. 

201. To Professor L. A. Zellner in Vienna. 

Pest, April 6th, 1858. 

Dear Friend, 

With the 


we will 

Cre - do 
conclude this time in Vienna ! We must not give certain 
gentlemen any occasion to imagine that I concern myself 
about them more than is really the case. Faust and 
Dante can quietly wait for the due understanding of 
them. I must send them next to Hartel, so that they 
may be published by the end of this year. Give my 
very best thanks to Hellmesberger for the kind way 
in which he meets me ; he will forgive me if I cannot 
as yet put it to use. Under existing circumstances it 

1 As there had already been a performance of this on the 26th of 
February, 1 857, this can only refer to a performance in the " Euterpe " 


is wise and suitable for me " to strive with earnest 
consistency for my high aim, regardless of adverse 
circumstances and small-minded people." 

At the end of next week I go to Lowenberg, and 
thence back to Weymar. Therefore no concert in 
Vienna for this season — what may happen later on 
remains meanwhile undecided. 

The Pest concert has also not been given ; but pos- 
sibly my Symphonic Poems may obtain a hearing in 
Pest sooner than in Vienna, because I may expect 
much more susceptibility to them here. When I have 
got my Opera finished, 1 I must in any case stay here 
a couple of months — and on that occasion, perhaps, 
I may be able to bring in my Symphonic things in 
three or four concerts. But there is no hurry whatever 
for this ; — the Elizabeth and the Opera must be finished 
first. . . . 

My intention had been to get to Vienna yesterday, 
and to be satisfied with calling only on our four solo- 
singers and Count Raday in Pest to express my 
thanks. But I was pressed on all sides in so kind a 
manner to let my Gran Festival Mass be heard again 
that I willingly acquiesced. The articles in the Austrian 
p[aper], and your brochure, have done the most towards 
stirring up the general wish. The public is like this — 
that they only know what they ought to think of a 
work when they see it printed in black and white ! — 
You have therefore to answer for it if the Mass is 
performed here a second time — on Friday afternoon 
in the Museum-Saal (for the benefit of the Conserva- 
torium) and on Sunday in the Parish Church. On 

1 This must be Sardaiiapahts. 


Monday evening I shall be in Vienna. 1 wrote to 
Tausig yesterday that we would decide on the evening 
of our musical meeting at your house after Countess 
Banffy has chosen on the evening for her soiree (at 
which Tausig will play). If I hear anything further 
about it Tausig shall let you know at once, so that 
you may be able to make your invitations in advance. 
On Thursday or on Saturday at latest I leave Vienna. 
All further particulars viva voce. 

Yours ever, 

F. Liszt. 

There is no truth in the idea of a private concert. 
I will tell you in what way I might be able to realise 
it another time — and will take counsel and consent 
about it from you. 

202. To Eduard Liszt. 

Dearest Eduard, 

It is not enough that I have already been in 
all sorts of trouble here in connection with the two 
performances of the Gran Mass, which will take place 
next Friday and Sunday (for which four to five rehearsals 
at the least are indispensable) — but now the post from 
Vienna brings me bad tidings, for which indeed I w r as 
prepared, but which, nevertheless, are by no means 
desired by me. I had a long letter yesterday from 
our friend Z., which I am answering with a decided 
refusal as regards a nearly impending performance of 
my Symphonic Poems in Vienna. For this time we 
will stop at the two performances of the Gran Mass — 
neither a note more nor less. Later on we will consider 


how we shall stand on the next occasion, and I shall 
take counsel with you about it, because I have the 
conviction that you not only intend and act for the 
best and kindest as regards me, but also the most 
judiciously ! — 

On Monday evening I shall be back in Vienna — 
and will expect you directly I reach home. If possible 
I shall start from Vienna on Thursday evening — but at 
the latest on Saturday early. I have written to Tausig 
to take my old rooms for me. Much as I should like 
to come to you, yet this time it is simpler for me to 
stay at an hotel. 

To our speedy meeting, which, alas ! will be a good 
deal clouded for us by these various obstructions. But 
in Vienna it can't be otherwise. On this account you 
must soon come again to Weymar, where we can belong 
to ourselves. 

Heartfelt greetings in sincere friendship and loving 
devotion from 

F. Liszt. 

Pest, April Jth, 1858. 

' 203. To Adolf Reubke, Organ-Builder at 
Hausneinsdorf in the Harz. 1 

Dear Sir, 

Allow me to add these few lines of deepest 
sympathy to the poem by Cornelius, 2 which lends such 
fitting words to our feelings of sorrow. Truly no one 

1 Written on the death of his son Julius Reubke (died June 3rd, 
1858), a favourite pupil of Liszt's. 

2 " Bein Tode von Julius Reubke" ("On the Death of Julius 
Reubke'"). Cornelius, Poems. Leipzig, 1890. 

VOL. I. 24 


could feel more deeply the loss which Art has suffered 
in your Julius, than the one who has followed with 
admiring sympathy his noble, constant, and successful 
strivings in these latter years, and who will ever bear 
his friendship faithfully in mind — the one who signs 
himself with great esteem 

Yours most truly, 

F. Liszt. 

Weymar, June loth, 1858. 

204. To Prince Constantin von Hohenzollern- 


When Your Highness was kind enough to 
express your views to me respecting your noble design 
of encouraging in an exceptional manner the progress 
of musical Art, and to question me as to the best 
mode of employing a certain sum of money for this 
object, I think I mentioned to you Mr. Brendel, 
the editor of the Neue Zeitschrift filr Musik, as the 
best man to make your liberal intentions bear fruit. 
As much on account of the perfect uprightness of his 
character, which is free from all reproach, as for the 
important and continuous services which his paper 
and other of his works have rendered to the good cause 
for many years past, I consider Mr. Brendel entirely 
worthy of your confidence. 

It is not lightly that I put forward this opinion — and 

* Autograph in the possession of Herr Alexander Mej-er Cohn in 
Berlin. — This very musical Prince was for years Liszt's patron, and 
often invited the latter to stay with him at his Silcsian residence at 
Lowenberg, where he kept up an orchestra. 


I venture to flatter myself that my antecedents will be 
a sufficient guarantee to Your Highness that in this 
matter, as in any others in which I may have the 
honour of submitting any proposition to you, I could 
follow no other influences, no other counsels, than 
those of a scrupulous conscience. Putting aside all con- 
siderations of vanity or personal advantage foreign to 
the end in view, my sincere and sole desire is to make 
Your Highness's intentions and capital the most pro- 
ductive possible. It is with this view that I have openly 
spoken of the matter to Brendel, whose letter, which I 
venture to enclose herewith, corresponds, as it seems 
to me, with the programme in question. 

I venture to beg you, Monseigneur, to look into this 
attentively, and to let me know whether you will grant 
permission to Brendel to enter into these matters more 
explicitly by writing to you direct. In the event of 
the propositions contained in his letter meeting with 
the approval of Your Highness, as I trust they may do, 
it would be desirable that you should let him know 
without too much delay in what manner you would 
wish your kind intentions carried out. 

In order to fulfil its task of progress, the Ncue 
Zeitschrift fur Musik has not spared its editor either 
in efforts or sacrifices. By the fact that it represents, 
in a talented and conscientious manner, the opinions 
and sympathies of my friends and myself, it is in the 
most advanced, and consequently the most perilous, 
position of our musical situation ; therefore our adver- 
saries lose no opportunity of raising difficulties for 
it. Our opinions and sympathies will be sustained, 
I doubt not, by their worth and conviction ; but if Your 


Highness condescends to come to our aid, we shall be 
both proud and happy — and it is by spreading our 
ideas through the Press that we can best strengthen 
our position. 

In other words, I am convinced that, in granting 
your confidence to Mr. Brendel, the sum that Your 
Highness is pleased to devote to this matter will be 
employed in the most honest manner, and that most 
useful to the progress of Art — and that all the honour 
and gratitude which your munificence deserves will 
spring from it — as is the earnest desire of him who has 
the honour to be, Monseigneur, Your Highness's most 
devoted and humble servant, 

F. Liszt. 

Weymar, August i8/h, 1858. 

205. To Frau Rosa von Milde. 1 

Weymar, August 25///, 185s. 

My honoured and dear Friend, 

If the outward circumstances which you mention 
in your kind letter are not exactly of the kind that I 
could wish for you, yet I am egotist enough to be 
much pleased at its friendly contents towards myself. 
Accept my warmest thanks for them — and let me tell 
you how anxious I am that you should like me very 
much, and how desirous I am to deserve this — as far 
as it can be deserved ; for the best part of a har- 
monious intimacy must ever remain a free gift. 

The " wanton, ragged garments of the Muse," which 
you abandon with strict generosity, make a show and 

1 Court opcra-singcr in Weimar, ne'e Agthe ; the first Elsa in 
Lohengrin ; a refined and poetical artist. 


please almost everywhere. Her sensual charm is not 
unknown to me ; yet I think I may say that it was 
given me to lay hold of a higher and a pure ideal, and 
to vow to it my whole endeavours for many years past. 
You, dear friend, have, through your singing, often led 
me to this in the best way, without thinking of it. 
Moreover it always does me so much good when we 
meet in unity in the same path. — 

Owing to a heap of visits (among which were several 
of deep interest, such as Kaulbach, Varnhagen, Cams, 
etc.), I have been much interrupted in the completion 
of the Elizabeth. Still, I hope to be ready with it by 
February. You will then again do the best part for it, 
and must practise works of artistic mercy ! — What is 
the good of anything that is written on paper, if it is 
not comprehended by the soul and imparted in a living 
manner ? — But among the works of mercy I am not 
desirous that you should have to bury a still-born 
Oratorio ! — 

My heartfelt, twofold greetings to Milde, as friend 
and as artist. I am writing the part of Landgrave 
Ludwig for him — and, as the Landgrave is very speedily 
got out of the way, I will ask him to undertake, in 
addition, two other parts (those of a Hungarian 
magnate and a bishop). 

The day after to-morrow I accompany the Princess 
to the mountains and cascades of the Tyrol. On our 
return journey we shall spend a couple of days in 
Munich, and shall be back here by the end of Septem- 
ber. Will you allow me to conduct Alceste on the 2nd 
of October ? — Sobolewski's Comala* is fixed for the 

* Opera by Sobolewski. 


1 2th. I shall give over to our common friend Lassen 
(to whom please remember me warmly) the pianoforte 
rehearsals during my absence. 

I hope you will get quite strong and enjoy yourself 
much at the seaside, dear friend, and return in good 
spirits to us at Weymar, where you are quite indis- 
pensable to 

Yours most truly and devotedly, 

F. Liszt. 

P.S. — Possibly Fraulein * * * (whose name at this 
moment I forget) will come from Berlin to Weymar 
during my absence. I recommend her again to Milde 
and yourself. Preller will introduce her to you, and I 
beg that Milde will help her with good teaching. If 
I am not mistaken, she would stand proof well in 
mezzo-soprano parts. 

I have trustworthy tidings of the brilliant success of 
the first performance of Lohengrin in Vienna (on the 
19th of this month). Rienzi was also taken up again 
in these days as before. 

206. To Dr. Franz Brendel. 

Dear honoured Friend, 

The memorandum is excellent, and I agree with 
it in all points. I have noted this, according to your 
wish, at the end by the words vu ct approuve* (a per- 
fectly correct formula in French). The Prince's address 
is as follows : — 

To His Highness Prince Constantin Hohenzollern- 
Hechingen, Lowenberg, Silesia. 

* Seen and approved. 


I should not be able for the present to find you 
a Paris correspondent. But, as I understand, Biilow 
intends to go to Paris in the course of this winter, and 
would then be best able to tell you of a colleague there. 
There is no hurry about the article on theatre curtains. 
As soon as I am somewhat through the mass of arrears 
in correspondence I will take an opportunity of sending 
it to you, but whether it will be in time to appear in 
the first number of the Anregungen I cannot say. 

I told Pohl yesterday that I wish the Dresden Weber 
concerto affair in the meantime not to be mentioned in 
the paper. The whole affair has for the moment made 
an extraordinary stir, and I will tell you about it later 
on. For the present there is nothing to be said about 
it on our side, even if other papers mix themselves up 
in it in an incompetent manner. Very likely the winter 
will slip away before the intended concert comes off. 1 

Sobolewski (who has been detained this time by his 
theatre work in Bremen) will come here for the second 
performance of Coma/a. I will let you know about it. 

The work is worth your hearing and interesting 
yourself in. Owing to the acting of the two Schmidts 
(husband and wife), as guests here,* the second per- 

1 The Dresden theatre directors intended, as M. M. v. Weber tells 
us in his biography of his father (vol. ii., p. 721), to arrange a concert 
for the benefit of the Weber Memorial which was to be erected. 
Liszt was equally desirous of doing something publicly for the 
Master whom he so highly esteemed ; but " because they could not 
agree whether he should take part in the directors' concert or use 
the personnel of the Royal Opera at his own concert, neither of the 
concerts was given." 

* "Das GastspieV '—the playing as guests at a theatre — is an 
expression used when actors or singers other than those attached 
to the theatre of the place come to act or sing there for a time. 


formance has been postponed until towards the middle 
of this month. 

I will send Riedel the pianoforte edition of my Mass 
very shortly. 

With heartfelt greetings, 


November 2nd, 1858. F. LlSZT. 

207. to johann von herbeck. 

Dear Friend, 

Your three splendid fellows, my high-minded 
and honourable gipsies, 1 are most excellently lodged 
on the Altenburg. First of all the song was played 
on the violin, then with cello — another time I tried 
it alone, and yesterday Caspari sang me the song, 
so full of pith and beauty and intrinsic worth, to the 
delight of us all and of myself in particular. It will 
remain as a brilliant repertoire piece amongst us, 
and I shall very soon introduce it to Tichatschek, 
who will assuredly give it with inspiration and will 
make it widely known. Please forgive me, dear friend, 
for not having expressed my warm thanks to you 
sooner. — I only got home a few weeks ago from my 
journey to the Tyrol and Munich, and have scarcely 
been able to sit down to write, owing to all the 
business pressing upon me from every side. If 
Lessing says " One must not must" nevertheless the 
saying of Kladderadatsch, " Bien muss"* is, for ordi- 

1 " Die drei Zigeuncr " (" The Three Gipsies "), by Lenau, for voice 
with pianoforte accompaniment. 

: " The bee must " — referring to a joke in the German Punch 
( Kladderada fsc/i). 


nary mortals, much more applicable — and over this 
" bee must " one at last becomes quite idle from 
sheer weariness. 

I will take the first opportunity of sending you your 
manuscript of the score of the Mass for men's voices to 
Vienna. The Gloria, which was performed at the 
University Jubilee Festival of Jena last August, was 
made most effective by your excellent instrumentation. 
You will observe a slight alteration at the conclusion 
(six bars instead of five, and a slightly less risky 
modulation), which I beg you to follow at any perform- 
ance there may chance to be in Vienna. 

As regards the choruses to Prometheus, I confess 
to you candidly that, much as I thank you for thinking 
about them, I think it is wiser to wait a little bit. I 
am not in the slightest hurry to force myself on to the 
public, and can quietly let a little more of the nonsense 
about my failure in attempts at composition be spread 
abroad. Only in so far as I am able to do something 
lasting may I place some modest value upon it. This 
can and will be decided by time alone. But I should 
not wish previously to impose on any of my friends 
the disagreeables which the performance of my works, 
with the widespread presuppositions and prejudices 
against them, brings with it. In a few years I hope 
things will go better, more rationally, and more justly 
with musical matters. 

Until then we will go forward composedly and con- 
templatively on our way ! Once more best thanks and 
greetings from yours in all friendship, 

F. Liszt. 

Weymar, November 22nd (St. Cecilia s Day), 1858. 


208. To Felix Draseke. 

My very dear Friend, 

Herewith the piano edition of the two first acts 
of Sigurd. 1 — Imagining that you may also want the 
score of the first act, which had remained here, I send 
it also, sorry as I am to part from this monumental 
work. Under present existing circumstances, which 
on my side are passive and negative, as I intimated to 
you after the performance of Cornelius's Opera, there is 
no prospect of putting Sigurd on the boards at present. 
But I promise myself the pleasure and satisfaction of 
letting all your Tamtis and Beckis be heard, when I 
have again resumed my active work at the Weymar 
theatre, for which there may probably be an opportunity 
next season. 

After you left Weymar we had to swallow a kind of 
second piece or supplement to the performance of the 
Barber of Bagdad \ on occasion of Madame Viardot's 
performance as " guest " here. But I will not weary you 
with tales of our local miseries and crass improprieties. 
I will only intimate thus much — that, under the present 
Intendant regime, to my sorrow, the inviting of Frau 
Schroder-Devrient to play here as guest is met by 
almost unconquerable difficulties from within. Tell 
our excellent friend Bronsart this, and tell him into the 
bargain that a concert (in the room in the Town Hall), 
at which he and Frau Schroder-Devrient should appear 
without any other assistance, would certainly be very 
welcome to the public, and I should look upon this as 

1 Opera by Draseke. 


in any case a practical introduction to the performance 
as guest. This matter lies outside my present sway, 
but it goes without saying that I will not fail to let 
my slight influence towards a favourable solution of 
the matter be felt. — 

The day before yesterday I heard at Gotha your 
countryman's new opera {Diana von Solange) for the 
second time. The work was received with great 
approval, and is shortly to be given in Dresden, where 
you will be best able to judge of it. Mitterwurzer and 
Frau Ney have some very effective moments in it. 

The concerts of the joint Weymar and Gotha 
orchestras (a matter which I broached long ago) again 
came under discussion, and possibly this March an 
attempt will be made to set them going. Meanwhile let 
us look after our cordial [Magen-Starkung] " mentre che 
il danno e la vergogna dura,"* as Michael Angelo says. — 

Friendly greetings from your faithful and devoted 

January \2th, 1859. * * LlSZT. 

Will you give the enclosed letter to Bronsart ? 

209. To Heinrich Porges in Prague. 1 

Dear Sir and Friend, 

Owing to your affectionate understanding of 
what I have striven after in the Danie Symphony and 
the Ideale, you have a special right to both works. 
Allow me to offer them to you as a token of my sincere 
attachment, as also of the grateful remembrance which 

* " Whilst prejudice and shame last." 

1 Now Royal music-director and conductor of a first-rate Gesang- 
verein [vocal union] in Munich, where he has lived since 1867. Born 
1837. Is also a writer on music. 


I keep of the Prague performance. 1 Taking your kind- 
ness for granted, I beg you to give the other two copies 
to Herr Professor Mildner and Herr Dr. Ambros with 
my best thanks. 

It is to be hoped that this year's " Medical " Concert 
will have favourable results. My valiant son-in-law, 
H. von Billow, cannot fail to be recognised among you 
as an eminent musician and noble character. I thank 
you and Herr Musil (to whom I beg you to remember 
me most kindly) for offering Billow this opportunity 
of doing something in Prague. — There is no doubt that 
he will fulfil all your expectations. 

For the next " Medical " Concert I willingly place 
myself at your disposal. Possibly we might on this 
occasion venture on the Symphonic Poem No. I — 
" Ce qu'on entend sur la Montague "■ — the chorus 
"An die Kiinstkr" and the Faust Symphony'? — The 
respected medical men would thus take the initiative 
in the new musical pathology ! — 

For the Tonkilnstlcr-Versammlung } etc. [Meeting of 
Musicians], in Leipzig at the beginning of June Dr. 
Brendel is expecting you, and I rejoice at the thought 
of meeting you again there. If the affair is not too 
much hampered in its natural course by local miseries 
and malevolence, it may do much for the bettering of 
our suffering musical position. In any case we will 
not fail in doing our part towards it. 

With highest esteem, yours most truly, 

Weymar, March loth, 1S59. F* LlSZT. 

1 At Porges' initiative the medical students had invited Liszt, in 
1858, to a concert, at which his Dante Symphony and the Ideale 
were given. In 1859 Billow was also invited at Porges' inducement. 


210. To Capellmeister Max Seifriz in Lowenberg.* 

Dear Friend, 

I feel the most heartfelt sympathy with you in 
your sad days at Lowenberg, and trust with you that 
they will not last much longer. When there is a 
suitable opportunity, express to our Prince my heartfelt, 
grateful devotion. Then tell me quite openly and 
candidly whether my visit to Lowenberg, in the course 
of next month, will be welcome and will make no 
trouble. I had planned to spend the Easter week 
there, and only await preliminary tidings from you 
to announce myself by letter to His Highness. Dr. 
Brendel wished at the same time to pay his respects 
to the Prince. The press of work upon him just now 
especially will only allow him to stay a couple of da} r s 
with you ; but I for my part, if I am assured that my 
visit will not come inopportunely, should like to pro- 
long my stay a little. Perhaps, as you are so kindly 
intending to invite Damrosch, it might be arranged for 
him to come at the same time. It would be a great 
pleasure to me to see the valiant friend and comrade 
in Art again with you. 

I give you once more my best thanks for the kind 
attention which you have caused to be bestowed on 
my works. The many attacks on me which I have 
to bear enhance still more the value I place on the 
sympathy and concurrence of my friends. 

By to-day's post I send you the scores of the Dante 
Symphony, the "Ideale," and the Goethe March, which 

* Autograph in the possession of Herr Alexander Meyer Cohn in 


have just come out — the former merely to read through 
(as a memento of the Dresden performance, which 
served as a rehearsal to me, after which several altera- 
tions in the score occurred to me) — but the other 
two might not be wholly unsuitable for a performance 
with your gallant orchestra, to whom I beg you to 
remember me most kindly. 

May the things be welcome to you, dear friend, as 
a token of the very high esteem of 

Yours in all friendship, 

F. Liszt. 

Weymar, March 22nd, 1859. 

211. To Eduard Liszt. 

Warmest thanks for all you have done, said, 
and felt, dearest Eduard. I hope that I am only 
going a few steps in front of you, and that in a couple 
of years the same distinction will fall to your lot, in 
which I shall then have the same pleasure as is granted 
to you to-day. 1 

Herewith my letter of thanks to S. E. von Bach. 2 
Perhaps you would think it well to deliver the letter 
yourself. Take the opportunity of remembering me to 
Wurzbach, who has always been most friendly to me. 

I will write to Daniel one of these next days. The 
Princess goes to-morrow to Munich, where Kaulbach 
is painting the portrait of Princess Marie. On the 
30th of this month I again make a visit to Prince 
Hohenzollern at Lowenberg (Silesia), and shall then 

1 This would be the bestowing of the title of nobility on Liszt, 
who, however, as is well known, never used it. 

2 Austrian Minister of the Interior. 


soon take up my quarters at Leipzig, where we shall 
have to live through some rather warm days on the 
1st, 2nd, and 3rd June. For the rest there are 
good prospects for us there ; and, even if dishonesty 
and malevolence make the utmost exertions (as we may 
expect they will do), this can do us but very little 
injury (where it does not help us). 

You have possibly already heard that the Schiller 
Festival in Weymar has been frustrated by the 
imprudence of Dingelstedt. In spite of that I am 
composing the Introduction to the Festival by Halm, 
which may find its use here or elsewhere. 

With heartfelt thanks and greetings, your 

[Weimar,] April $th, 1859. F. LlSZT. 

212. To N. N., Music-Director at Weimar.* 

Dear Herr Music-Director, 

I learn to-day by chance of the measures which 
have been taken a posteriori against the concert con- 
ducted and arranged by Herr Gbtze, 1 and sincerely 
regret that a Weymar music-director and Weymar 
Court musician could deem such a thing suitable. 

I, with my exceptional and only occasional dealings 
with the orchestra here, can only draw your attention 
to the fact of how deplorably such occurrences run 
counter to a nice feeling of decorum, and still more to 
the nobler artist feeling. 

With compliments, 
April ijtii, 1S59. F. Liszt. 

* Autograph in the possession of Herr Gille, Privy Councillor 
in Jena. 

1 Carl Gotze, chorister, afterwards music-director. 


213. To Peter Cornelius in Vienna. 

Weymar, May 2yd, 1859. 

Dearest Friend, 

I learn with joy from your letter (which has 
just crossed mine from Lowenberg), that things are 
going well and comfortably with you in Vienna. It 
is easy to see that your stay there, when once you 
have made a firm footing, will become very advan- 
tageous — and whatever I can do towards helping this 
you may be sure I shall do. Herewith a few lines 
for Herr von Villers, Secretary of the Saxon Embassy 
(where you will learn his address). He is one of 
my older friends who has remained very dear to 
me. In his refined poetic and musical feeling many 
kindred tones will sound for you. Tell him all about 
Weymar and play him something from the Barbier} 
Although he lives somewhat a pari, he can prove 
himself agreeable to you in many things, — firstly, by 
his own personal intercourse — and then also by his 
relations with Baron Stockhausen (the Hanoverian 
Ambassador), at whose house there is frequently really 
good music, etc. — Don't delay, therefore, looking up 

For to-day I must beg you also to get the Prologue 
for the Leipzig days 2 ready as quickly as possible. I 
shall settle down at the end of this week (Saturday) 
in Leipzig — Hotel de Polognc. It would be very 

1 Cornelius' Opera. 

- The Leipzig Tonkunstler-Versammlung [Meeting of Musicians], 
from which the Allgemeine Deutsche Miisikvercin [Universal German 
Musical Society] sprang. 


good of you if you could send me the Prologue to 
Leipzig within eight days. Address to Brendel, 
Mittelstrasse, 24. I still do not possess a single copy 
of my Mass, because I sent on the two or three that 
had been previously sent to me at once to M[usic]- 
Dprector] Riedel for studying the work. But my 
cousin, Dr. Eduard Liszt, will certainly be delighted to 
give you your copy at once. You have only to tell 
Daniel to bring it to you, if you have not time to call 
on Eduard. 

Frau von Milde, Billow, Bronsart, Draseke, Lassen, 
etc., etc., etc., are coming to Leipzig from Monday, 
30th May, until Sunday, 4th June. You must not fail 
us, dearest friend, and we await you with open arms 
and loving hearts. Your 

F. Liszt. 

The Princess stays a little longer in Munich, and will 
not get to Leipzig till towards the end of this month. 

Remember me most respectfully and warmly to 

Best greetings to Catinelli. 

Once more, please send the Prologue. 

214. To Dr. Franz Brendel.* 

Herewith is an answer to the nine points of 
your letter of to-day, my dear friend. 1 

I. The Mildes have got leave of absence from Monday, 

* Autograph in the possession of Herr A. O. Schulz, bookseller in 

1 Referring to the Tonkunstler Versammlung in Leipzig, in June 

VOL. I. 2 5 


30th April, till Friday, 3rd June, inclusive. Your 
programme remains as already fixed. Duet from the 
Flying Dutchman, Cellini Aria, Songs by Franz and 
Schumann (etc. ad libitum). 

2. I will bring all the orchestral parts that there are 
with me, or, better still, I will send you the whole lot 
to-morrow. For Tasso the whole set is complete — 
but for the Duet from the Dutchman, and the Cellini 
Aria and Overture a couple of copies of the quartet 
will have to be written out afresh in Leipzig. 

3. I do not possess the Overture to the Corsair 1 
(and would not recommend it for performance), and 
the Prelude to Tristan Billow will see after. 

4. I expect more particulars from Billow in the 
course of the week. 

5. I am writing to-day to Cornelius about the 
Prologue affair. 

6. Herewith is the German text of the Mass, 2 which 
is to be printed in Leipzig in the same manner as in 
Vienna — namely, with the addition of the Latin text — 
and which belongs to the General Programme of the 
Festival. This programme we will settle and revise 
together next Sunday. 

7. Leave of absence for Frau Pohl will be attended to. 

8. / reserve to myself the matter of deciding on what 
pianists shall accompany the Ballads, and undertake the 
piano part of the Trios that are to be given. If possible 
I want Bronsart to take a part in it. 

9. I will send off the definite invitations to the 
nobility next Sunday (at latest) from Leipzig to Gotha 
and Meiningen. 

1 By Berlioz. - Lisat's Gran Festival Mass. 


I am coming to you on Saturday afternoon, 21st 
May, 1 and shall then stay in Leipzig till the end of 
the Festival. For the present a suitable room (without 
sitting-room) will satisfy me, and I beg you to bespeak 
this for me in the Hotel de Pologne for Saturday. My 
ministering spirit should have his room close to mine, 
because looking for him and calling is highly dis- 
agreeable to me. 

Good-bye till Saturday. Your 

F. Liszt. 

Monday, May 2yd, 1859. 

P.S. — The performance of Judas Maccabceus (for the 
Handel Festival) is'announced here for next Wednesday, 
25th May. To-morrow, Tuesday, there will be a 
similar Handel celebration in Erfurt with a performance 
of the Messiah. Frau von Milde will sing the soprano 
part there. Let Pohl know this — perhaps he may like 
to hear Judas. 

The rehearsals of Rietz's little Opera are in progress, 
and Pasque (who has written the libretto for it) told 
me yesterday that the first performance will take place 
next week. Probably Rietz will undertake to conduct 
it, as I proposed. 

215. To Felix DrAseke. 

Where, my dear, excellent friend, have you got 
hold of the extraordinary idea that I could be angry 
with you ? How to begin such a thing I really should 
not know. You are far too good and dear to me for 
me not to remain good to you also in all things ! — 

1 Must be 28th May, as the letter is dated the 23rd. 


Herewith are a few lines for Wagner, which how- 
ever you don't in the least need. I am glad that you 
are not putting off this journey any longer. But 
before you set out write to Wagner (you can add my 
lines to your letter extra), and inquire whether he will 
be staying at Lucerne still, so that your Swiss pilgrimage 
may not be in vain. — You will be certain to get an 
answer from Wagner by return of post, and will thus 
be sure of your object. 

Schuberth tells me that " King Helge " will ride into 
his shop almost immediately ... to Sigrun, the ever 
blooming delicious sorrow ! — How scornfully, " without 
greeting or thanks," will "King Helge" look down upon 
all the other wares in Schuberth's shop. Somewhat 
as the hippopotamus looks on toads and frogs. — But 
it is quite right to let the Ballade come out, and I am 
impatiently awaiting my copy. 1 — 

I hope it may be possible for me to come to Lucerne 
at the end of August. But send some tidings of 
yourself before then to 

Your sincere and faithful 

[Weimar,] July 19th, 1859. F. LlSZT. 

216. To Peter Cornelius in Vienna. 

Dearest Friend, 

You are quite right in setting store upon the 
choice and putting together of the three Sonatas. The 
idea is an excellent one, and you may rest assured of 
my readiness to help in the realisation of your intention 

1 Liszt subsequently formed out of Draseke's song the melodrama 
of the same name. 


as well as of my silence until it is quite a settled thing. 
If Bronsart could decide on going to Vienna, his co- 
operation in that matter would certainly be very 
desirable. Write about it to him at Dantzig, where he 
is now staying with his father (Commandant-General 
of Dantzig). Tausig, who is spending some weeks at 
Bad Grafenberg (with Her Highness the Princess von 
Hatzfeld), would also adapt the thing well, and would 
probably be able to meet your views better than you 
seem to imagine. As regards Dietrich, I almost fear 
that he does not possess sufficient brilliancy for Vienna 
— but this might, under certain circumstances, be an 
advantage. He plays Op. 106 and the Schumann 
Sonata capitally — as also the "Invitation to hissing 
and stamping," as Gumprecht designates that work of 
ill odour — my Sonata. Dietrich is always to be found 
in the house of Prince Thurn and Taxis at Ratisbon. 
He will assuredly enter into your project with pleasure 
and enthusiasm, and the small distance from Ratisbon 
makes it not too difficult for him. You would only 
have to arrange it so that the lectures come quickly 
one after the other. 

Where Sasch Winterberger is hiding I have not 
heard. Presupposing many things, he might equally 
serve your purpose. 

In order to save you time and trouble, I will send 
you by the next opportunity your analysis of my 
Sonata, which you left behind you at the Altenburg. 

Draseke is coming very shortly through Weymar 
from Lucerne. I will tell him your wish in confidence. 
It is very possible that he would like to go to Vienna 
for a time. 


I have not the slightest doubt as to the success 
of your lectures, in conjunction with the musical per- 
formance of the works. — I would merely advise you to 
put into your programme works which are universally 
known — as, for instance, several Bach Fugues (from Das 
wohltemperirte Clavier), the Ninth Symphony,'the grand 
Masses of Beethoven and Bach, which you have so 
closely studied, etc. 1 

Well, all this will come about by degrees. First of 
all a beginning must be made, and this will be quite 
a brilliant one with the three Sonatas. Later on we 
will muster Quartets, Symphonies, Masses, and Operas 
all in due course ! 

A propos of operas, how are you getting on with the 
Barbier and the publication of the pianoforte edition ? 
Schuberth told me for certain that printing would 
begin directly they had received the manuscripts. 
Don't delay too long, dearest friend — and believe me 
when I once more assure you that the work is as 
eminent as the intrigue, to which it momentarily 
succumbed, was mean-spirited. 

Schuberth has no doubt told you that I want to 
make a transcription of the Salamaleikum. But don't 
forget that another Overture is inevitably necessary, 
in spite of the refined, masterly counterpoint and 
ornamentation of the first. The principal subject 

-e>- -<s>- T -^ ' -*- -*- -#- L_ 


must begin, and the Salamaleikum end it. If possible, 
bring in the two motives together a little {at the end). 

1 The proposed lectures did not come off. 


In case you should not be disposed to write the 
thing I will do it for you with pleasure — but first 
send me the complete piano edition for Schuberth. The 
new Opera can then afford to wait a while, like a " good 
thing "—only may weariness at it remain long absent ! * 
— In order that you may not have a fit of it in reading 
this letter, I will at once name to you the magic 
name of Rosa x . . . 

In consequence of an insinuating intimation of our 
mutual patroness, I have still to add the excuses of 
our good friend Brendel to you. When I have an 
opportunity I will tell you in person about the Pro- 
logue disturbances at the Leipzig Tonkunstler Ver- 
sammlung. Pohl had also supplied one — but the choice 
was given over to Frau Ritter, and she chose her 
good Stern, whose prologue was indeed quite success- 
ful and made a good effect. But oblige me by not 
bearing any grudge against Brendel, and let us always 
highly respect the author of i( Liszt as a Symphonic 
Writer " !— 

A thousand heartfelt greetings from your faithful 

Weymar, August 2yd, 1859. F. LlSZT. 

Princess Marie will thank you herself for the 
Sonnet, and at the same time tell you about the 
musical performances of the 15th August. Lassen's 
song, " Ave Maria," of which you gave him the poem 
long ago, w 7 as especially successful. The Quartet 

" Elfen, die kleinen, 
Wollen dich grussen, 

* Untranslatable pla} T on the words Wcile and Laugeweile. 
1 Rosa von Milde, the artist and friend of Cornelius, who wrote 
poetry upon her. 


Wollen erscheinen 
Zu deinen Fussen " * 

(composed by Lassen), and 

"Wandelnde Blume, athmender Stern, 
Duftende Bliithe am Baum des Lebens"t 

(composed by Damrosch), which we had sung to- 
gether two years ago, rejoiced us anew and most truly 
this time. 

217. To Dr. Franz Brendel. 

Dear Friend, 

The sketch for your programme l is excellent, 
and if I have some doubts as to the entire project, 

* " Elfin world greeting 
To thee is sending, 
Fairy forms lowly 
At thy feet bending." 

f " Swift -changing flowers, pulsating star, 

Sweet-scented blossoms on life's living tree." 

1 Referring to some theatre concerts, which were to be arranged 
according to Brendel's design. The sketch was as follows : — 

" 1st Concert. Paradise and the Peri. 
2nd „ Eroica. Prometheus. 

3rd ,, Overture of Wagner. Solo (Bronsart). Over- 

ture of Beethoven. 
2nd part : L'enfance du Christ of Berlioz. 
4th „ Festival Song of Liszt. Solo. Draseke. Chorus 

for men's voices from his Opera. 
2nd part : Walpurgisnacht of Mendelssohn. 
5th „ Overture of Berlioz, Wagner, or Beethoven. 

Solo. Preludes. 
2nd part : Manfred. 
6th „ Overture. Solo. Tasso. 

2nd part : B:; major Symphony.'' 

To this Liszt adds, besides some remarks about getting the parts 
for No. 5: "An orchestral work of Hans von Billow (possibly the 


yet your proposed programme seems to me in any 
case the most suitable, both as regards choice of works 
and their order and grouping. With regard to the 
doubts which I have so often mentioned I will only 
make the general remark that a competition with the 
Gewandhaus in Leipzig brings a good deal of risk 
with it, and for this winter a passive attitude on our 
side would not specially injure our cause (at least 
not according to my opinion). Whether Wirsing and 
Riccius will be able to give the requisite support to 
the theatre concerts, or are willing to do so, I cannot 
undertake to say, as the ground of Leipzig lies in 
many ways too far removed from me. In this I rely 
entirely on your insight and circumspection, dear 
friend. In case you end by deciding in the affirmative 
I will willingly do something to help — as, for instance, 
to undertake the conducting of the Prometheus. I 
would rather not let myself in for much more than 
that, because conductings in general become more 
burdensome to me every year, and I don't in the least 
desire to offer further active resistance to the ill-repute 

Caesar Overture) would be suitable for this concert. I would also 
recommend that Bronsart's Friihlings-Phantaste [Spring Fancy] should 
be included in one of the programmes. 

" Of Berlioz' works I should recommend the following as the most 
acceptable for performance : — 

" The festival at Capulet's house (Romeo), 
The Pilgrims' March (from Harold), 
Chorus and Dance of Sylphs (Faust), 
Terzet and Chorus (from Cellini), with the artists' oath, 
Overture to Lear. 

"N.B. — We can bring out the Terzet from Cellini at the next 
Toukitiistlcr-Vcrsaiuiiilimg. It is a very important and effective 


with which I am credited as a conductor. Indeed I 
owe my friend Dingelstedt many thanks for having 
(without perhaps exactly desiring to do so) given me 
the chance of freeing myself from the operatic time- 
beating here, and I am firmly resolved not to wield 
the baton elsewhere except in the most unavoidable 
cases ! Bulow must now often mount the conductor's 
desk. He has the mind, liking, talent, and vocation 
for this. If the theatre concerts should be arranged, 
be sure to secure his frequent co-operation. He will 
certainly bring new life into the whole affair, and 
possesses the necessary amount of experience and 
aplomb* to be their solid representative. 

I have just written to Klitzsch x and promised him 
to conduct the Prometheus in Zwickau. The concert 
will take place at the end of October (perhaps on my 
birthday, the 22nd). Although you have heard the 
Prometheus choruses in Dresden, I wish very much 
that you could come to Zwickau this time. I have 
again worked most carefully at it, have amplified some 
things, and have arranged others in a simple and 
more singable manner, etc. Now I hope that it will 
thoroughly hold its ground and stand the test of proof. 
So do come to Zwickau. 

I have still one more request to make to you to-day, 
dear friend. P. Lohmann 2 was so kind as to send me 
his drama some weeks ago. I have read The Victory 
oj Love with much interest, but I have not yet been 
able to get so far as the other, and as little have I been 

* Employed in French by Liszt. 

1 Music-conductor at Zwickau. 

2 A colleague of the Ncuc Zcitschrift fi'ir Musik, living in Leipzig. 


able to express my thanks to him in writing. Kindly 
undertake my excuses to him, and tell him that I am 
exceedingly obliged by his letter and what he sent me. 
On the occasion of my journey to Zwickau I will call 
on Lohmann in Leipzig, and tell him personally what 
an impression his dramas make on me. I specially take 
notice of his article in the paper. 

I thank you most truly for the kindness which you 
have shown to B. He is in many things somewhat 
awkward, impractical — and almost looks as though 
he could not devote himself to any productive and 
consistently carried-out form of activity. None the less 
is there in him a certain capacity and worth which, in 
a somewhat more regular position than he has yet been 
able to attain, would make him appear worth more. A 
more frequent application of a few utensils such as 
soap, tooth-brush, and nail-brush might also be recom- 
mended to him ! — I expect much good to result from 
your influence on B.'s further work and fortunes, and 
hope that your store of patience will not be too sorely 
tried by him. 

With heartfelt greetings, your 

F. Liszt. 

Weymar, September 2nd, 1859. 

Herewith the programme scheme with two or three 
little remarks appended. Weigh again the pros and 
cons of the matter, and keep the right balance between 
the risk and the possible gain. Motto : " First weigh, 
then risk it ! " *— 

. — .1 have had so much of notes [musical] to write 

* The nearest English equivalent seems to be " Look before you 


lately that my writing of letters [of the alphabet] has 
got still worse. But where you can't read what I have 
written, you can guess it all the easier. — 

218. To Louis Kohler. 

Dear Friend, 

Your letter was a real joy to me, for which I 
thank you heartily. You are far too honourable, brave, 
and admirable a musician for our paths to remain long 
sundered. For the very reason that people cannot (as 
you so wittily remark) immediately 'Mabel and cata- 
logue me correctly and place me in an already existing 
drawer," I am in hopes that my efforts and working 
will eventually prove in accordance with the spirit of 
the time, and will fructif}'. I promise you also that I 
am not wanting in pains and labour in honour of my 
friends. But I certainly cannot recognise weaklings 
and cowards as such. It is only with high-minded, 
brave, and trusty comrades that we move forwards, no 
matter though the number remain small. In matters 
of intelligence the majority always follows the minority, 
when the latter is sufficiently strong to hold its own. — 
Welcome, therefore, dear friend, welcome most truly. 
If there is still a lot of scandal which we have to bear 
quietly and without mortification, we will by no means 
let ourselves be confounded by it ! 

I have written at once to H artel to send you the 

arrangements for two pianofortes of the Symphonic 

Poems that you wished for. But there is a better way 

or the scores than that of a bookseller. Fraulein 

Ingeborg Stark is going to St. Petersburg on the 20th 


of this month, and will stay a day in Konigsberg. She 
will bring you the Dante Symphony, etc., and if there 
should be an opportunity she will play the things 
through with Bronsart (who is also going to Konigs- 
berg at the same time). I have grown very much 
attached to Fraulein Stark, as hers is a very particularly 
gifted artistic nature. The same will happen to you 
if you hear her striking Sonata. Ingeborg composes 
all sorts of Fugues, Toccatas, etc., into the bargain. I 
remarked to her lately that she did not look a bit like 
that. " Well, I am quite satisfied not to have a fugue 
countenance," was her striking answer. 

The Pohls are both still in Baden-Baden (whence 
I hear the excerpts from Berlioz' manuscript opera Les 
Troyens* spoken of with enthusiasm). Madame Viardot 
sang a grand sccna and a duet from it in the concert 
conducted by Berlioz) — and Fraulein Emilie Genast 
is staying a couple of weeks longer with her sister 
Frau Raff in Wiesbaden. On her return I will give 
her your greetings, and Emilie will certainly be glad 
to make known the concert song which you mention 
to her. In her performance a beautiful and sympathetic 
" melody of speech " is reflected. As I write this word I 
can't help at the same time wishing that you may find 
in my " Gesammelte Lieder " something that appeals 
to your feelings, which you have so cleverly repre- 
sented in the " melody of speech." You will receive 
a proof-copy of the six numbers at the same time as 
the Dante Symphony. I wanted to dedicate the last 
number, " Ich mochte hingehn " (poem by Herwegh), 
specially to you, and when next you have occasion to 

* The Trojans. 

39§ to louis kOhler. 

come to Weymar, I will look for the manuscript for 
you on which your name is put. But as I have left 
out all other dedications in this complete edition, I 
propose to dedicate something else to you later — 
probably some bigger and longer work. 

A Ballade of Draseke's — " Konig Helge " — has just 
appeared, which pleases me extremely. You must 
look closely into this wonderful Opus I. 

In conclusion one more request, dear friend. Do 
me the kindness to be perfectly free and open and 
regardless of consequences in the discussion of my 
works. Do not imagine that the slightest vanity 
comes over me or impels me. I have long ago done 
with all that sort of thing. So long as you allow that I 
possess the necessary musical equipments to create freely 
in Art, as I gather from your letter that you do, I can 
but be grateful to you for all else, even were it severe 
blame. I have often expressed my opinion to my 
friends that, even if all my compositions failed to succeed 
(which I neither affirm nor deny), they would not on 
that account be quite without their use, owing to the 
stir and impetus which they would give to the further 
development of Art. This consciousness so completely 
satisfies me that I can consistently persevere and go 
on composing. 

With all respect and attachment I remain, 

Yours most sincerely, 

F. Liszt. 

Weymar, September yd, 1859. 

If the Konigsberg Academy does not take alarm at 
my name (as has indeed been the case in other places, 
owing to the foolish prattle of the critics), they might 


try the Prometheus choruses there by-and-by. They 
are to be given almost directly (at the end of October) 
at Zwickau, and probably later on in Leipzig, where 
I shall then also have them published. 

In the matters of the prize-subject we will w T ait and 
see what comes. You very justly remark that it hinges 
now upon enharmony. 

It is a pity that you do not bring something. Per- 
haps you will still find time to do so. 

219. To Dr. Franz Brendel. 

Dear Friend, 

I beg you to send me by return of post a copy 
of the intricate biography (" Liszt's Life and Work " — 
if I am not mistaken) by Gustav Schilling. Siegel 
and Stoll in Leipzig have taken the work from the 
Stuttgart publisher, and there will surely be some way 
of getting a copy in Leipzig. Ask Kahnt to be so 
good as to see after one and to send it me immediately 
by post, for I require the work in connection with a 
special and pressing question which I can best answer 
by a quotation from Schilling's book. 

With friendliest greetings, your 

Weymar, September St/i, 1859. F. LlSZT. 

Why does not Schuberth send me my dedicatory 
copy of Draseke's Ballade " Konig Helge " ? 


Dear Friend, 

Warmest thanks for your persevering and well- 
wishing sympathy. 



It is a great pleasure to me that you are bringing 
about the performance of the Mass for men's voices 
on the 23rd October, and I hope that, as you have 
once "made your way through it," we shall also not 
succeed ill. 

The " sneaking brood " (as you well name the people) 
can henceforth growl as much as they like. What 
does that matter to us, so long as we remain true and 
faithful to our task ? In the performance last year at 
Jena (at the secular celebration of the University) I 
had the opportunity of convincing myself how capital 
your instrumentation of the Mass sounds, and I espe- 
cially beg that you will not leave out one iota of it in the 
oboes or trombones. The organ alone is not sufficient, 
especially if there is a large chorus, and the completion 
of the accompaniment could not have been better 
accomplished than you have done it. 

N.B. — At the Jena performance I hit upon the 
following alterations at the conclusion of the Gloria : — 

Lento. ,. — x 1 . i ^ rs 









A - men. 





-&. — j 





With Pedal. 






If you are agreed with this, then let this simplifica- 
tion serve for Vienna. I can only send you the score 
and parts of the Prometheus choruses towards the 
middle of November, as Klitzsch (in Zwickau) has 
arranged a performance of this work on the 12th to 
the 14th November, and I have already placed the 
parts at his disposal. If this delay does not hinder 
your kind intention of having the Prometheus choruses 
performed in Vienna, I will send the whole packet of 
parts to your address in Vienna, free, immediately after 
the Zwickau Concert. For the poem belonging to it, 
which I will also send with the rest, it is desirable 
that you should get an adequate tragic declaimer. In 
Dresden Davison undertook this, and in Zwickau 
Frau Ritter will declaim it. I am writing to-day to 
Herr von Billow, but rather doubt whether he will 
be able to accept your invitation for this winter. 
According to what he told me lately, he thinks of 
going to Warsaw and Paris in the latter part of the 
winter. With regard to the eventual choice of a piece 
you may, moreover, pacify the strict gentlemen of the 
Committee. In case Biilow should make his appear- 
ance at the Philharmonic Concert he will, on my advice, 
not play my A major Concerto (nor any other composi- 
tion of mine), but just simply one of the Bach or 
Beethoven Concertos. My intimate friends know per- 
fectly well that it is not by any means my desire 
to push myself into any concert programme whatever. 
. . . With regard to the scores and parts that you 
want, I have noted on a separate sheet which ones 
I have at my disposal, and where }'ou can obtain the 
rest. In conclusion allow me once more to beg you 

VOL. I. 26 


kindly to let me have a couple of lines about the per- 
formance of the Mass. Perhaps some things may occur 
to you which might still be altered and simplified. Do 
not deprive me, dear friend, of your good advice, which 
I shall be glad to make use of in the score edition of 
the Mass which must shortly ensue. Naturally your 
name will stand on the title-page, and the responsibility 
of the instrumentation will be remitted to you. 
With friendly thanks and highest regard, I am 
Yours most truly, 

F. Liszt. 

Weymar, October nth, 1859. 

221. To Felix Draseke. 

Dear excellent Friend, 

Your surmise that I could not go away from 
Weymar at present was quite correct. The Altenburg 
is indeed very deserted, as Princess Marie went away 
directly after her marriage on the 15 th October, and 
the Princess went to Paris yesterday for several days — 
yet I will not leave my own hearth so soon, even if my 
outward activity be much limited henceforth (as I have 
already intimated to you) both here and elsewhere. — 
I require my whole time for my further works, which 
must go on incessantly — consequently I have resolved 
to keep at a distance all the delights of conductor- 
ship, and to give the baton a rest equally with the 
piano. — 

On the 9th November the festival play by Halm, 
A Hundred Years Ago, will be given here with the 
music I have composed to it — and on the nth the 


Kiinstler-Chor is to introduce the Festival-oration by 
Kuno Fischer at Jena. Damrosch writes to me also 
from Berlin that he intends to include the Kiinstler- 
Chor in the programme of the Schiller Festival there. 
The Zwickau Concert is fixed for the 15th November 
— and I am delighted to think of meeting the Ritters 
there. By the way, I am of opinion that Sasch * will 
undertake two numbers of the programme, and will 
fulfil Klitzsch's wish with the Chaconne as well as 
mine with the original Concerto, on the same evening. 
Zwickau chances to belong to the few towns where the 
Chaconne (so Klitzsch writes me word) has never been 
heard in public. Sasch can take this fact into con- 
sideration, and without doing anything derogatory can 
grant the public the enjoyment of the Chaconne. The 
assured success which he will have with it may also 
act beneficially on the receptiveness of the audience in 
connection with his Concerto. Tell our dear friend this, 
with the proviso that, if he only undertakes one number 
on the programme, I advise him in any case to choose 
his Concerto. The piece has much that is interesting 
and effective in itself, and it will be useful to Sasch to 
test the relation of the orchestra to the solo part by 
a public production. If necessary, therefore, force him 
to do it, by my order. 

With regard to the causes and excuses for your 
pretended " obstinacy, dogmatism," and imaginary 
" arrogance," I beg you, dearest friend, to rest assured 
that you will never find any such suspicion in me. 
What you think, feel, compose, is noble and great — 
therefore I take a sympathetic interest in it. — The next 

1 Sasch, i.e., Alexander, Ritter's Christian name. 


time we are together I will merely endeavour to make 
"amputation" more bearable to you by chloroform ! — 
With highest esteem I remain, 

Yours in all friendship, 

F. Liszt. 

[Weimar,] October 20th, 1859. 

222. To Heinrich Porges in Prague. 

Dear Friend, 

Your letter for the 22nd October gave me 
heartfelt pleasure, and you need not be in doubt as 
to the correctness of the affectionate and deep percep- 
tion of my endeavour, which " has proceeded both from 
man's need of freedom as well as of love," and which, 
by and with the grace of God, has been impelled to 
raise itself toward the " Divine." — I cannot say much 
on this subject; but may my works only remain no 
dumb witnesses, and may your intimate understanding 
of them give you some satisfaction. 

I send you herewith Dingelstedt's Festal Song for 
the Schiller Celebration, which I have purposely com- 
posed in a very simple, national manner. Perhaps there 
might be an opportunity of bringing the thing to a 
hearing during the Schiller Festival in Prague. Will 
you ask Apt whether he would be disposed to do it ? 
The studying of it would not give the least trouble. 
It requires only a baritone or bass for the solo part, 
and an ordinary chorus of men's voices without any 
accompaniment. — 

Leaving it entirely in your hands to act about it as 
yon may think best, and either to promote the perform- 


ance or to let it alone, I remain, with best thanks and 

high esteem, 

Yours very truly, 

F. Liszt. 

October 30th, 1859. 

My composition to Halm's festival play has been 
sent through H. von Dingelstedt to Herr Thome, 
and will probably be performed on the 9th or 10th 
November. 1 Write and tell me how the matter is 

223. To Ingeborg Stark. 2 

It is very charming and graceful of you, dear 
Mademoiselle Inga, to remember the 22nd October 
so kindly, and I should have thanked you sooner for 
your letter, which gave me sincere pleasure, had I not 
been kept to my bed for nearly a week in consequence 
of much emotion and fatigue. 

Through our friend Bronsart I have had some pre- 
liminary good tidings of you ; you have fulfilled your 
role of charmer in the best possible manner, and 
Bronsart is full of raptures about you. But all this is 
ancient history for you, something like a chapter of 
Rollin on the history of the Medes,— after whom come 
the Persians, the Greeks, and the Romans. . . . 

For the present it is the turn of Russia, which you 

1 The festival play was given in Prague under the theatre con- 
ductor Thome. The music to it was never published. The Weimar 
archives probably possess the score. 

2 A pupil of Liszt's, who afterwards married Liszt's pupil Hans von 
Bronsart, now General Manager of the Weimar Court Theatre : she 
was also known as a composer. 


are in the way of conquering, and I see from here the 
enchantment of your admirers of St. Petersburg, who 
are all ears and all eyes around the piano where you 
are enthroned. 

Will you remember me affectionately to Prince 
Odoyewski, and give a friendly shake hand* from me 
to Mr. Martynoff. As for our dear Tartar, 1 tell him 
how much I am attached to him ; he will be all the 
more agreeably persuaded of this if you tell him. Ask 
him also to write to me after your first concert, for 
I would not risk offending your modesty so far as to 
beg you to send me an exact account of your undoubted 
successes. But I don't intend on that account to let 
you stand still as regards letter-writing, and you will 
give me great pleasure if, for example, you will con- 
tinue your history of the musical prowess of Rubinstein 
(that you have begun so well). 

You know that I am truly interested in what he is 
doing, considering that he has all that is wanting to 
compose good and beautiful things, provided that he 
does not persist in writing straight off too hurriedly, 
and guards a little against excess in the very exercise 
of these grand qualities. 

The " Ocean " of which Rubinstein has sung might 
serve as his model in this ; he knows how to restrain 
his waves in their liberty and power — and I hope 
Rubinstein would not be offended by the comparison ! 
— Let me know then about his artistic actions and 
attitudes, of which, I presume, he will have every 
occasion to be satisfied and proud. 

* Written in English by Liszt. 
1 The composer Alexander Seroft". 


Our little Weymar has remained, as usual, pretty 
tame since you left ; but in a week's time we shall be 
celebrating here the centenary of Schiller's birth with 
all the enthusiasm of which we are susceptible (which 
is not saying much). 

On the 9th November the music that I have composed 
for Halm's Festival-play \ " A Hundred Years Ago" 
will be given at the theatre, and Jena has put on its 
festival programme my chorus An die Kiinstler, which 
will terminate the ceremony of the nth (Friday next). 

In addition you will find in the Schiller number of 
the Leipzig Illustrirte Zeitung, which will appear on 
the 1 2th November, a Festival song " im Volkston" % 
of my composition. Do not be shocked at the extreme 
simplicity of this song ; it was not the occasion to 
make a display of musical knowledge — but simply 
to write forty bars or so which could be quite easily 
sung and remembered by tutti quanti. In order to 
do this I had to dress my Muse in a blouse, or, if you 
prefer a more German comparison, li ich habe der Dame 
eine bayrische Joppe angezogen ! " f 

How are you getting on with your truly Samsonic 
Variations — and with your Fugue Martha ? Don't 
make too great a martyr of yourself over it, and 
reserve for yourself also the better part . . . that of 
Mary. 1 

As I have mentioned this name I will tell you that 

* In the style of a folk-song. 

f " I have dressed the lady in a Bavarian jacket." 

1 She had written a fugue on the musical letters of the names 
Martha and Maria [Mary] — the names of her friends, the sisters Von 


Princess Marie Hohenlohe will spend her winter in 

I, for my part, shall not stir from the Altenburg, where 
I am reckoning on finishing my Elizabeth, and on 
living more and more as a recluse — indeed, even a 
little like a bear — but not in the style of those estim- 
able citizens of the woods, whom the impresarii of small 
pleasures degrade by making them dance in the market- 
places to the sound of their flutes and drums ! I shall 
rather choose a model ideal of a bear — be sure of that 
— and the flutes and drums which might lead me into 
the slightest future temptation of cutting capers have 
still to be invented. 

Will you be so good, dear Mademoiselle Inga, as 
to present my very affectionate respects to Madame, 
your mother, as well as my best remembrances and 
compliments to la Sagesse Olivia * — and believe me 

Your very devoted 

F. Liszt. 

Weymar, November 2nd, 1859. 

224. to johann von herbeck. 

Dear Friend, 

I only returned a few hours ago from Zwickau, 
and find your friendly letter here, in reply to which 
I must excuse myself for not having been able to fulfil 
your wish so soon as I had intended, in respect to 
the Schubert Marches. This delay, which was very 
unpleasant to me, was occasioned by an indisposition 
which obliged me to keep my bed for a whole week 

1 Liszt's name for the sister of Ingeborg Stark. 


at the end of October. The Weymar and Jena Schiller 
Festivals, following on the top of that, made it utterly 
impossible for me to get on with the instrumentation 
of the Marches. But I promise you that you shall have 
the score by Christmas at latest. 

Prometheus will present himself to you by the end 
of this month. If after looking through the score, 
dear friend, you think the work suitable for a per- 
formance in Vienna, I shall be glad. If not, I beg 
you to tell me so with perfect candour, and without 
the slightest scruple of thereby wounding my vanity. 
Whether the stomach of the critics and of the public 
will be able to digest such a liver cut out of the 
vulture as this of my Prometheus, or whether at the 
very first bars all will not be lost, I cannot determine ; 
but still less would I prepare superfluous disagreeables 
for you by the performance of my " Tonschmiererei" * 
of such ill-odour from the beginning ! 

Decide therefore entirely according to your own 
judicious opinion — and, whatever that may be, rest 
assured of the sincere acknowledgment and esteem 
with which I remain 

Yours in all friendship, 

F. Liszt. 

November iSth, 1859. 

225. To Dr. Franz Brendel. 

Dear Friend, 

Of the three prize essays (which I return to you 
herewith) the one with the motto "Try all things 
and maintain the best" is, according to my opinion, 

* Tonc-daubins:. 


very significant and suitable to the definite solving 
of the question. The writer develops his thesis with 
so safe, so rightly apprehending, and so far grasping 
a logic that it shows convincingly that the now in- 
dispensable practice is in complete union with the 
results of the theory. It is to be hoped that our 
excellent colleague and friend Lobe will also give his 
weighty judgment in favour of this prize essay, and 
will also scientifically explain his motives for doing 
so — for I cannot suppose that Lobe is in agreement 
with the opponents of the enharmonic system, whose 
theory would make us have to do musical penance. 

In the two other essays with the mottoes " Our 
eyes see, but they require the light to do so," and 
" Look, this is what man has done ! " there is much 
that is true and worthy of consideration (especially 
in the former), which might be made prominent after 
reading through all the essays sent in. 

Come to an understanding next with Lobe about 
the final business of the causes for the award of the 
prize, and let me have a draft of it. It cannot be 
otherwise than profitable if the affair is treated some- 
what exhaustively and thoroughly, which you, dear 
friend, in conjunction with Lobe and Weitzmann, 
are much better able to do than my humble self, since 
I, as Hauptmann justly observes, should appear to be 
too much prejudiced by my own practice. In matters 
of harmony, as in other greater matters, I believe 
also that Nature is in everlasting union with Genius. 

" What one promises, the other surely performs." 
And Beethoven was quite right to assert his right 
to allow that which was forbidden by Kirnberger, 


Marpurg, Albrechtsberger, etc. ! — Science must only 
investigate more and more the nature of things and the 
freedom of genius, and become experienced in their 

further development. 

Ever faithfully yours, 

F. Liszt. 

[Weimar,] December 1st, 1859. 

I quite agree with your project of giving two prizes. 
The first prize will be awarded to the above-mentioned 
treatise, unless, which I doubt, a still more successful 
one should be sent in. 

226. To Anton Rubinstein. 

Certainly, my very honoured friend, I shall 
not leave off taking a very sincere and loyal part in 
the unfolding of the career that you are pursuing with 
such rare prowess, and all that you can tell me of 
your doings in composition and musical conducting 
will always find in me a lively interest. Thank you, 
therefore, for your nice letter, which contains also a 
promise which I shall be very much pleased to see you 
fulfil — namely, that of your visit next spring, in com- 
pany with your Opera in four acts — and probably 
also with your " Song of Songs," which you do not 
mention to me, but which I am none the less desirous, 
on that account, of knowing. 

Have you thought well to give your Paradise Lost 
at St. Petersburg ? I urged you strongly to do so, for 
it is a capital work, which does you great honour, and 
the place of which seems fixed in your concerts. And 
on this subject allow me to compliment you very 


sincerely upon the idea (all the less frequent as it is 
just) which has been uppermost in the distribution 
of the programme of these concerts. If it continues 
to predominate, and if in effect they take it into their 
heads at St. Petersburg to do justice (as you tell me) 
" to all the masters of all schools and of all times " 
(not excepting our own !), the famous verse 

" 'Tis from the North that light comes to us to-day" 

will be justified, and even by Music ! In France and 
Germany we are far from this — and classical Phari- 
saism swells its voice there to make a diversion to 
Mercantilism, that rich disgraceful one, who succeeds 
perfectly well in making the principal papers and their 
numerous readers dance to the sounds of his harsh 
flute, whilst his antagonist (Pharisaism) only ends in 
" Impropcrias " and " Jeremiads " . . . . not composed 
by Palestrina ! 

Your choice of the introduction to the second act 
of the Fliegendcr Hollander seems to me an excellent 
one, and I shall get the score (of this scene) copied 
for you, as it is very difficult to get a complete score 
of the Opera, and as I only possess the autograph, 
with which it would be a matter of conscience to me 
to part. In about a fortnight I will send you what 
you want for your programme. 

Princess Marie Hohenlohe is at the present time 
at St. Petersburg, and will be much delighted to see 
you again. Her husband does a good deal in the way 
of music, and plays several " Lieder ohne Worte " of 
his own composition very nicely. He and his wife 
will assuredly have pleasure in being amongst the first 


to applaud at the time of the performances of your 
Opera in Vienna. 

A rcvoir then, my dear Rubinstein, in the spring — 
and ever yours in sincere esteem and affection, 

F. Liszt. 

Weymar, December yd, 1859. 

P.S. — When you see Mademoiselle Ingeborg Stark, 
please give her my very affectionate remembrances. If 
her journey from Paris should bring her back by 
Weymar she would be sure to find me there ; for, in 
spite of what the papers say, which, among other 
fancies, have taken it into their heads to make me 
travel hither and thither, I shall not stir from here for 
several months, but continue to work my best — if only 
to prove to the " kindly critic " and the idlers that it 
is very much to be regretted that I should have taken 
it into my head to turn composer ! — This recalls the 
proverb, " On devient cuisinier ', mats on nait rotisseur /" * 

227. To Dr. Franz Brendel. 

Dear Friend, 

It is of great consequence to me not to dela} r 
any longer the publication of my " Gesammelte Lieder." 
Forgive me, therefore, if to-day I am somewhat trouble- 
some to your friendship. . — . 

It seems to me that the best plan would be if, before 
you confer with Herr Schulze, you would first have 
a consultation with Klemm, and come to a thorough 

* There does not seem to be an}- equivalent to this proverb in 
English : the nearest approach to it is, perhaps, " A poet is born, 
not made." 


understanding on the matter with him. 1 Beg him also, 
in my name, to show a friendly sympathy to the work. 
The songs can hold their ground in their present form 
(regardless of the criticism of our choking and quarrel- 
ling opponents which will infallibly follow !) ; and if a 
few singers could be found, not of the raw and super- 
ficial kind, who would boldly venture to sing songs by 
the notorious non-composer, Franz Liszt, they would 
probably find a public for them. 

I think I told you that a couple of them made a 
furore in certain salons which are very much set against 
me, as posthumous songs of Schubert, and were encored ! 
— Of course I have begged the singer to carry the joke 
on further. 

Klemm need not therefore be in the least ashamed 
of undertaking the publication of the work in a friendly 

Best thanks beforehand for your kind trouble in this 
matter — and ever faithfully yours, 

F. Liszt. 

Weymar, December 6t/i, 1859. 

P.S. — I have just received your letter. The two 
K.'s — Kompel and Kahnt — shall be made most welcome. 
Pohl had already told me of Kahnt's coming; it will 
be a pleasure to me not to verlangweilen * his visit 
here (if that word is not quite German, still I consider 
it is comprehensible !). Julius Schuberth had also the 
intention of rescuing something 2 from Kuhn. 3 

1 Liszt evidently wished to have the songs engraved first at his 
own cost, and to let Klemm undertake the sale on commission. 
* To make the time hang heavily. 
-' Namely, Liszt's composition. 
3 Music publisher. 


Your idea of giving Bronsart the conductorship of 
the Euterpe Concerts is a most excellent one. I sup- 
pose the letter which I wrote about this to P. Fischer 
(to your address) came to hand (?). The day before 
yesterday I also let Bronsart know that possibly some 
favourable openings might occur for him in Leipzig, 
and recommended him not to neglect them. Bronsart 
would be just in his right post in Leipzig, and I do 
not doubt that he would in every respect maintain it 
in the most honourable manner. In addition to this, 
it would be especially agreeable to me to be in constant 
intercourse with him as my next neighbour. He is 
now working at his Opera, and sent me a little while 
ago the libretto which he has himself composed to it, 
and which seems to me very successful in the most 
important scenes, as well as in the dialogue. 1 

Address your letters to " Herr von Bronsart, c/o 
Herr General von Bronsart, Commandant of Dantzig, 

In consequence of the performance of my Mass in 
Munich (on the King's birthday, at the end of November), 
which, as I am told on many sides, was well given and 
— which seems wonderful — was acknowledged by many 
musicians there to be a work of importance — so that 
even Lachner spoke favourably of it — the Allgemeine 
Zeitung again breathes forth poison and gall (supple- 
ment of 3rd December), without forgetting therewith 
the Neue Zeitschrift fur Musik. I should like to take 
the opportunity of making this pack of critics, such 
as W., B., G., B., and whatever all the assistants' 

1 It was afterwards composed by his wife ("King Hiarne "). 


assistants are called, understand the following thoughts 
as Xenie * : — 

11 Ye break your staff over me, but your staff has 
indeed long since become rotten from all the dust and 
dirt that stick to it, and it scarcely serves any longer 
to cut the air ! " 

Tell this idea to Lohmann — perhaps he may be 
inspired with a happy rhyme for it. 

I cannot say anything better to you about Pohl than 
what you tell me. — 

Herewith, for your private delectation, is a copy of 
some lines from my letter to Herr Gustav Eggers (in 
Berlin), brother of the well-known Art-journal Eggers, 
now very much concerned in the Prussian paper. 
Gustav E. was here at the September Festival (1857), 
when he heard the Faust Symphony, and sent me lately 
a very pretty book of songs, begging me to recommend 
them to Hartel. — Send me the little paper back soon. 

228. To Eduard Liszt. 

By the loving friendship which you have shown 
me, especially during the last decade in which so many 
trials have been laid on me, our close relationship in 
heart and character has been for ever firmly sealed, 
dearest Eduard. You are, and will ever be to me, a 
support and a courage-giving comforter in the battles 
and straits of my life. God grant me grace to go 
through them without wavering, as a faithful servant 
of the truth in Christ ! 

You have decided upon just what is most right and 

* Epigram. 


suitable in the arrangement of the funeral ceremony of 
my son. 1 The selection of Terziani's Requiem was a 
very suitable one under the existing conditions. I 
thank you for everything from the depths of my 
soul ! — 

I shall write a couple of lines to Herbeck to-morrow, 
and send him at the same time the score and parts of 
the Prometheus, as well as two Marches of Schubert 
which I have instrumented for him. The sending off 
of this parcel has been delayed by the circumstance 
that it was necessary to have the whole score of the 
Prometheus written out afresh, and to make some 
alterations in the parts. The earlier score was indeed 
sufficient for me — but any strange conductor would 
scarcely find his way through it. I hope Herbeck will 
be pleased with the instrumentation of the Schubert 
Marches. I fancy I have been successful in this little 
work, and I shall continue it further, as it offers 
much attraction to me. The four other Marches will 
follow shortly, which should make the half-dozen 

Cornelius arrived here the day before yesterday. 
His friendly attachment to you is a very warm and 
sincerely devoted one. On me Cornelius's pure mind 
and thoroughly honourable disposition always have the 
most beneficial effect ; but it is especially welcome to 
me just now to hear more of you from him, and thus to 
be more with you. 

Be as good to me as you are dear to my heart ! 

F. Liszt. 

Weyjiar, December 2St/i, 1859. 

1 He died in Vienna, where he was studying law. 
VOL. I. 27 


229. To Josef Dessauer.* 

Dear honoured Friend, 

It is possible that the delicacy of your percep- 
tion may have brought you much trouble, but it 
assures you a soft place in the better region of the 
heart of your friends. This I again felt in reading 
your dear letter. 

Accept, therefore, the heartfelt thanks of your old 
friend, whose u manly formed nature" must further 
prove itself; he has still many duties to fulfil and more 
than one battle to fight. May the Cross remain his 
support, his strength, and his shield ! 

Whatever fatality also may hang over me, be assured 
of the faithful attachment of your 

Weymar, December 30th, 1 859. F. LlSZT. 

The crucifix from you (after the Gran Mass) 
has grown still dearer to me ! — 

When I have finished with some works which cannot 
be postponed any longer, Daniel shall receive his Requiem. 


Dear Sir, 

The performance of new works on the part of 
so renowned an orchestra as that of Munich must ever 

* Autograph in the possession of Herr Von Hannen, painter in 
Venice. — The addressee (" Maitre Favilla," as George Sand named 
her friend) was known as the composer of refined songs (1798-1876). 
Three of these Liszt transcribed (1847, Berlin, Schlesinger). 

f From a copy in Liszt's own handwriting (amongst the letters to 


remain a mark of special attention for the composers. 
But I must rate it still higher that, in face of the 
strong prejudice against my name, one of my ill-famed 
Symphonic Poems should have been included in the 
programme of the concerts of the Munich Hofcapclle. 

It is ill preaching to deaf ears, and it is well known 
that there is no worse deafness than that of people 
who will not hear. Hence it is that the Festklcinge, 
as well as the Mass and everything that I and others 
better than my humble self have been able to compose, 
is prejudiced. But the more unseemly and malicious 
factiousness may show itself against new works, the 
more am I laid under a grateful obligation to those 
who do not accept as their artistic criterion the injustice 
inflicted on me. 

Time levels all things, and I can quietly wait until 
people are more occupied in learning to know and to 
hear my scores than in condemning and hissing them. 
Mean-spirited, blackguard tricks, even when played in 
concert-rooms and newspaper reports, are no arguments 
worthy of a lasting import. 

I beg you, dear sir, to convey to General Music- 
Director Lachner my best thanks for his well-meant 
sentiments towards me, and I remain, with high esteem, 
yours very sincerely, 

WEYMAR, January 15^, i860. F. LlSZT. 


[Received, according to him, on January 26th, i860.] 

Dear Friend, 

On getting back from Berlin yesterday evening 
I find your letter, which has given me especial pleasure 


by the assurance that the Prometheus choruses and 
the instrumentation of the Schubert Marches fulfil 
your expectations. You shall very shortly receive two 
more Schubert Marches (the Funeral March in Eb 
minor, and the Hungarian March in C minor out of 
the Hungarian Divertissement} They could be played 
one immediately after the other. 

The Prometheus choruses, together with the Sym- 
phonic Poem which goes before them (and which has 
been published by H artel as No. 5), were composed 
in July 1850 for the Herder Festival, and were per- 
formed in the theatre here on the eve of that festival. 
My pulses were then all beating feverishly, and the 
thrice-repeated cry of woe of the Oceanides, the Dryads, 
and the Infernals echoed in my ears from all the trees 
and lakes of our park. 

In my work I strove after an ideal of the antique, 
which should be represented, not as an ancient skeleton, 
but as a living and moving form. A beautiful stanza 
of Andre Chenier, 

" Sur des pensers nouveaux faisons des vers antiques,'' * 

served me for precept, and showed me the way to 

musical plastic art and symmetry. 

The favourable opinion you have formed of the 
work in reading it through is a token to me that I 
have not altogether failed — I hope that the perform- 
ance will not spoil your sympathy for it. I leave the 
direction, with the utmost confidence, entirely in your 
hands. — You always hit on the right thing, and 

1 Op. 40, No. 5, and Marcia from Op. 54. 

* " On modern thoughts let us fashion verses antique." 


navigate satisfactorily with your entire forces the 
occasional difficulties of the dissonant entries, and of 
the pathetic delivery which is absolutely essential in 
several places. It would certainly be a great pleasure 
to me, dear friend, if I could be present at the perform- 
ance in Vienna on the 26th February, to enjoy your 
intelligent and inspired performance, but I am pre- 
vented from doing this by various circumstances (an 
explanation of which would lead me too far). 

I beg you therefore not to induce the directors to 
invite me, because I might not be in a position to make 
my excuses. So please do you undertake the office 
of unchaining Prometheus in Vienna; this labour of 
Hercules will become you well. 1 There are certainly 
no powerful eagles to hack and rend in pieces the 
Titan's liver — but there is a whole host of ravens 
and creeping vermin ready to do it. — Once more best 
thanks and greetings from your most highly esteeming 

and very devoted 

F. Liszt. 

232. To Dr. Franz Brendel. 

So then it has happened well that the editor 
of the Neue Zeitschrift has also become the editor of 
my " Gesammelte Lieder." Best thanks, dear friend, 
for the means you have taken to promote this. Kahnt 

1 It took place on the 26th February, i860. Herbeck notes as 
follows about it in his diary: "Prometheus, Symphonic Poem, 
pleased fairly. Chorus of Tritons pleased extremely. The Vintagers" 
and Reapers' choruses and concluding chorus pleased, but of course 
there was a formally organised opposition hissing. They had sworn 
the overthrow of this music, without even knowing a note of it." 


has only to come to an understanding with Schle- 
singer ; I on my side do not wish to place any limita- 
tion on his rights. Whether a transcription of this 
or that song may be made I do not know ; if this 
should be the case I will only beg Kahnt to let me 
know of any such chance transcriptions before allow- 
ing them to appear, mainly because it would not be 
pleasant to me if any really too stupid arrangements 
should come out. This is only a matter of artistic 
consideration — beyond that I have neither restriction 
nor reservation to make to the proposed edition. As 
soon as Kahnt is in order with Schlesinger I am 
satisfied with everything. This or that song may then 
appear singly, or transcribed for guitar or zither ; so 
much the better if Kahnt can thereby make it pay. 
N.B. — I should be glad if, in bringing out the songs 
singly, the same outside cover could be employed as 
in the complete edition, on account of the index. Pro- 
bably Kahnt will say nothing against this, as the 
back of the cover serves as an advertisement of the 
entire collection of songs. 

Yesterday evening Fraulein Berghaus (a daughter 
of the Potsdam professor) sang two numbers, Frendvoll 
unci leidvoll and Es muss em Wunderbares sein (out 
of the sixth part), at a concert given by Singer and 
Cossmann. I had indeed forbidden it, because this 
winter I will not have my name put on any concert 
programme at all — but her exquisite delivery of these 
songs, which were also received with approbation,, 
reconciled me to it. 

At the last Court concert in Berlin Fraulein Genast 

1 A highly gifted singer, afterwards Frau Dr. Merian in Weimar. 


selected the " Loreley " as her concluding song, and the 
Frau Princess Victoria expressed herself very favour- 
ably about it, remarking that a Schubert spirit 
breathed in the composition. One of these days 
Fraulein Genast is again singing the "Loreley" at the 
Philharmonic Concert in Hamburg. Otten has specially 
begged her to do so. The same gentleman wrote about 
eighteen months ago to Frau von Milde that he must 
beg to remark " that in regard to the choice of compo- 
sitions to be performed Robert Schumann is the extreme 
limit to whom his programme could extend ! " 

I cannot quite remember whether I sent Gotze a 
copy of my songs. Please ask him, and if I have not 
yet done so let me know. Gotze has a special claim 
to them, for in earlier years he had the courage to sing 
several of my nonentities — and I will see that he has 
a copy at once. At the same time ask Fraulein Gotze 
also whether she has received the copy of the Ballade 
Leonore. 1 From several places (and quite lately from 
Carlsruhe and Brunswick) orders for this Ballade have 
come to me, which — between ourselves — are not con- 
venient to me. My copyist has already had to make 
at least nine copies of it, which is a pretty good expense. 
Nevertheless a tenth shall willingly be made, if the one 
which was intended for Fraulein Gotze did not reach 
her, of which I am somewhat in doubt, owing to the 
many demands which the Leonore has brought with it, 
and which have made me somewhat confused. 

It would really be the best for me if Kahnt or 
Schuberth would save me the trouble of making further 

1 Liszt had composed this melodrama for Auguste Gotze, and fre- 
quently performed it, as well as his later melodramas, with her. 


copies by publishing the Leonorc. But I should not 
wish in any way to incommode the publisher, and 
certainly not to offer anything without knowing that 
it would be welcome. Under present circumstances a 
very pronounced reserve has become my rule. My 
business is simply to continue working unremittingly, 
and quietly to await the rest. 

Accordingly I submit myself without difficulty to 
your experience as editor in regard to my Munich 
letter 1 — although I could maintain good grounds for 
publishing it. Certainly it is always the gentlemanly 
thing entirely to ignore certain things and people. 
You may therefore be quite right in putting aside all 
other considerations ; and as I am convinced of your 
most sincere friendship I willingly leave you to decide 
whether my coming forward in such matters is of use 
or not. In case you had thought it advisable for my 
letter to be printed in the Nene Zeitschrift (which I 
left to your judgment), it would have had of necessity 
to be printed without the slightest alteration, because I 
have purposely written it thus clearly to Herr W., and 
any alteration in it might be taken as cowardice (which 
is far from me). But probably it is better to abandon 
the matter for a while, and to be somewhat more severe 
on another occasion. The pack of ragamuffins has 
richly deserved to be treated as ragamuffins ! 

This evening is Wagner's first concert in Paris. I 
expect little good to him from it, and consider such a 
step on Wagner's part as a mistake. In consequence 
of this opinion our correspondence is for the time sus- 
pended. More about this viva voce — as well as about 

1 To Wilkoszewski. 


Tristan und Isolde. A performance of the Opera was 
desired — that is to say, commanded for the 8th April 
(the birthday of the Grand Duchess). But Frau von 
Milde cannot undertake the chief part — and on that 
account the parts and score sent to us from Carlsruhe 
will be sent back again at once ! 

Has Wagner given his opinion more decidedly about 
a Tristan performance in Leipzig ? Can you let me 
know the contents of his letter ? 

With heartfelt greetings, your 

Weymar, January 2$th, i860. F. LlSZT. 

If you should see Schuberth, tell him that I have 
something to communicate to him that would perhaps 
repay him for the trouble of coming to see me here for 
a couple of hours. I have no intention of coming to 
Leipzig for the present. Tell him that delays of this 
kind make me " nervos" * (He knows what the word 
" nervos" means with me.) 

233. To Friedrich Hebbel.| 

The words which you write to me bear the two- 
fold eloquence of the praiseworthy man in the fore-rank 
of Art, and of the friend dearly loved and highly 
respected by me. Accept my warmest thanks for it, 
and please excuse me for not having told you sooner 
what a strengthening and healing effect your letter 
made on me. Work of all sorts and a long absence 
from here occasioned this delay. In the interim I was 
often with you in thought ; only the day before yester- 

* Nervous. 

f Communicated by Dr. Felix Bamberg, from the original. 


day I read to the Princess your two glorious Sonnets 
an den Kiinstler* " Ob Du auch bilden magst, was un- 
vcrganglich " — " Unci ob mich diese Zweifel brennen 
milssen ? " t — 

From Weymar I have nothing interesting nor espe- 
cially agreeable to tell you. This winter will pass 
away pretty quietly and insignificantly at the theatre, 
with repertoire works and pieces that will bring in 
money, and in society with the customary pleasures. 
A new drama by Rost, Ludwig der Eiserne, made 
some sensation, as is peculiar to the very popular 
productions of this author, who has achieved a public- 
house notoriety here. The nobles ought to have 
appeared in it yoked to the plough, but on Dingelstedt's 
advice Rost toned down that scene ! — A translation by 
Frau Schuselka (who has performed here sometimes) 
of the Pcre prodigue of Dumas fds was to have come 
on the boards ; but it appears that there are scruples 
about making such very ominous demands on the 
customary powers of digestion of our un-lavish fathers 
of families ! Amongst other inconveniences the piece 
also contains logarithms, to which the respectable 
German Philistine cannot attain. 

As regards myself, I am quietly waiting for the 
spring, when I shall in all probability move on further 
— of course not to renew my occupation of conducting, 
as it is said I shall do in Munich, Berlin, or elsewhere — 
an occupation I have gladly given up; — but in order 
to be able to pursue my work further than I am able 

* To the Artist. 

j- "Whether thou canst form what is imperishable ": 
"And whether these doubts must burn me." 


to do in Weymar, which to me is a more important 

Remember me most kindly to your wife, and be 
assured that I remain ever in truest devotion yours 
most faithfully, 

Weymar, February 5///, 1S60. F. LlSZT. 

234. To Dr. Franz Brendel. 

[February i860.] 

Dear Friend, 

Although as a general rule I consider that it is 
not the business of the Nenc Zeitschrift to go in for 
polemics, yet it seems to me that the little notice that 
Hanslick has put in No. 49 of the Vienna Presse, 
Saturday, the iSth February, is of such a kind that 
one must not ignore it. 

The Presse is a paper with a tremendous circulation 
in the monarchy, and Hanslick counts among the 
leaders of our opponents ; it would therefore be worth 
while to make an exception by coming forward on this 
occasion, unless (which I cannot as yet believe) your 
Vienna correspondent has been guilty of the mis- 
chievous conduct which Hanslick so severely reports. 
This point must first be made clear — whether in the 
third (or possibly an earlier) concert of Herr Boskowitz 
an exchange of a Schumann for a Liszt piece occurred. 1 
Possibly also your correspondent made use of the 

1 Instead of the Liszt piece An bora 7 d'une source, which stood on 
the programme, Boskowitz had played the Jagdlied from Schumann's 
Waldscenen, which did not prevent a correspondent (namely, the 
correspondent of the Deutsche Musikzeitung, as the Neue Zeitschrift 
of 24th February, i860, gave out) from loudly carping at the supposed 
Liszt composition. 


expression " The Vienna Press " in general, and did 
not refer specially to the paper Die Pressed or was 
referring to other remarks of Hanslick's. . . . 

This is only the second time for many years past, dear 
friend, that I have drawn your attention to notices in 
the paper. On the first occasion, when the Aitgsburger 
Allgcmeine gave that infamous correspondence about 
the venality of the Neue Zeitschrift, your striking answer 
gave the most convincing proof of what part the 
opponents were studying to play ! — I hope it will be 
possible to despatch Hanslick's notice (which I enclose) 
in a similar fashion. But it is necessary to get at the 
exact truth before inveighing against them — for Hans- 
lick is no easy opponent, and if one once attacks him 
it must be with suitable weapons and without giving 
quarter. The words " denunciation proceedings," 
" Gessler caps of the party of the future," and especially 
the concluding sentence, " As long as Herr Brendel," 
etc., are a challenge, which deserves more than a 
faint-hearted reproof ! I would also advise you to send 
a duplicate of your reply to the Presse in Vienna, at 
the same time as it is published in the Zeitschrift. The 
editors of the Presse will be certain to reject it, 
according to the usual method of the clique impartiality 
of those gentlemen. But the scandalous examples of 
the latter will be thus increased by one more. 

It is easy also to see beforehand that Hanslick will 
not let the matter rest at this first notice, and will 
continue the discussion. 

Hearty greetings. 

F. L. 

1 This was actually the case. 


P.S. — In case your Vienna correspondent should be 
quite in the wrong, it would be better simply to be 
silent and wait for a better opportunity. 

235. To Dr. Franz Brendel. 

[March or April i860.] 

Dear Friend, 

Do not blame me if this time I follow Pohl's 
example and keep you waiting for the promised article. 
I have been working at it pretty continuously during 
the past week, and the sketch of it is quite ready ; but 
I am not quite satisfied with it, and about Berlioz and 
Wagner I must say the right thing in the right 
manner. 1 This duty requires me to spend more time 
on it, and unfortunately I have so much on hand this 
week that it is hardly possible for me to busy myself 
with polemics. To-morrow is again a grand Court con- 
cert ; Bronsart and Fraulein Stark arrived yesterday; 
Frau von Bulow comes to-day, and I expect Hans on 
Saturday. Besides this, there is still more important 
work for me, which will take up my time entirely till 
the end of this month. 

Well, I will see to it that, if possible, Berlioz and 
Wagner do not remain forgotten ! — 

Let me first of all answer your questions. 

Whether it would be desirable to hold the second 
Tonkiinstler-Versammlung this year, I already left it to 
you, at our last meeting, to decide. In my opinion we 
might wait till next year without injury to the affair. 2 

1 No article of the kind by Liszt is contained in the Neue Zeitschrift 
for the year in question; probably it was unfinished. 
'-' This was done. 


As long as I myself have not made a secure and firm 
footing in Weymar, I cannot invite you to convene the 
meeting here. If you hold to the dates of the 17th, 
1 8th, and 19th June, we are bound to Leipzig, where 
I can then tell you with certainty whether Weymar will 
suit for the next meeting. 

It goes without saying that you, dear friend, must 
arrange about everything that I can undertake and do 
for the Tonkiinstler-Versam mhing. Only my personal 
help as conductor must be excepted. At our next con- 
sultation we shall easily come to an understanding as 
to the desirability of one conductor or several. 

I would indicate and emphasise, as absolutely neces- 
sary, the performance of new works by Biilow, Draseke, 
Bronsart, Singer, Seifriz, etc. I think I understand 
and can manage the art of programme-making in a 
masterly manner. When once matters have got so 
far, I will fix with you the programme of the three 

I agree with the choice of the Prometheus, and at 
the religious performance, if the latter is not filled up 
with one single great work, I would suggest perhaps 
the Beatitudes, or the 13th Psalm (the former last about 
ten minutes, the latter twenty-five). 

Will you therefore decide definitely where the Ton- 
kiinstler-Versammlung shall be held this year and the 
date of it, about which I have nothing further to say ? 
We will then discuss and settle the rest together. 

You will find my remarks as to the statute scheme 
on the last page of it. 

With hearty greetings, your 

F. Liszt. 


P.S. — A. The revising of the Leonorc shall be attended 
to immediately. 

B. I shall welcome Fraulein Brauer most cordially. 

C. I recommend to you again the manuscripts of 
Pasque and Councillor Miiller. Have you replied to 
Miiller ? 

Herewith is a letter from Weitzmann (14th June, 
1859), in which you will find much worthy of con- 
sideration and use. 

Important ! N.B. — When you eonvene the Tonkiinst- 
ler-Versammlung } add to it at once the following : " For 
the foundation of the German Universal Musical Society." 
This is the principal aim, toward the accomplishment 
of which we have to work. 1 

236. To Louis Kohler. 

My dear, excellent Friend, 

You have given me a rare pleasure. Your 
articles on my " Gesammelte Lieder " are a reproduction, 
replete with spirit and mind, of what I, alas ! must feel 
and bear much more than I can venture to write down ! 
Reviews such as these are not matters of e very-day 
reviewers — nor must one shame you with such a title. 

Accept my warmest thanks for them, and allow me 
to present to you herewith a couple of little singable 
things in manuscript. They were jotted down after 
reading your articles, and, if I mistake not, they spring 
from the melody of speech. In any case, dear friend, 

1 Liszt was, as Princess Wittgenstein distinctly told the editor, the 
actual founder of the "German Universal Musical Society." He con- 
ceived the idea and plan of it, and it was only at his wish that 
Brendel gave his name to it, and undertook to be president, etc. 


you have a special right to them — as well as to the 

sincere esteem and faithful attachment with which I 

remain your 

F. Liszt. 

Weymar, July 5th, i860. 

Towards the end of October the two Symphonic 
Poems, Nos. 10 and 1 1, which have still to be published 
— Hamlet and the Hunnenschlacht* — will appear at 
Hartel's ; and when these are out all the twelve 
monsters will have appeared. Shortly afterwards will 
follow Faust, the choruses to Prometheus, a couple of 
Psalms, and a new number of songs. I will send you 
the whole lot. But if possible arrange so that we may 
soon meet again — at the latest at the next Tonkunstler- 
Versammlung next year, at which we cannot possibly 
do without you. 

237. To Eduard Liszt. 

Dearest Eduard, 

You remain perpetually in the home of my 
heart, not at all in countless company, but all the more 
in picked company. When I think I have done any- 
thing pretty good I think of you and rejoice that what 
I have done will be a pleasure to you — and in the 
hours when sadness and sorrow take hold of me you 
are again my comfort and strength by your loving 
insight into my innermost wishes and yearnings ! My 
thanks, my warmest and truest thanks, to you for all 
the sustaining and soothing friendship that you show 
to me. It is to me a special token of Heaven's favour 

* The Battle of the Huns. 


to me, and I pray to God that He may unite us for 
ever in Himself! — 

Cornelius writes me word that you will probably 
come to Weymar towards the end of the summer. 
That will be a great pleasure to me ; I often feel as if 
I must have a talk with you out of the depths of my 
heart — for with writing, as you know, I don't exactly 
get on. I expect the Princess towards the middle of 
August. Meanwhile I receive good and satisfactory 
tidings from Rome. I hope all will turn out for the best. 

In these latter weeks I have been completely absorbed 
in my composing. If I mistake not, my power of pro- 
duction has materially increased, while some things in 
me are made clear and others are more concentrated. 
By the end of October the last two of the Symphonic 
Poems will be out [Hamlet and the Hitnnenschlachf). 
Then come the Psalms, which you do not yet know, 
and which I much want you to know — and also a new 
number of songs which will please you. I shall then 
work at the Oratorio St. Elizabeth, exclusive of all else, 
and get it completely finished before the end of the 
year. May God in His grace accept my endeavours ! — 

I must express myself not entirely in accord before- 
hand with your plan for your son, although I consider 
your way of looking at the present state of things by 
no means a wrong one. I am also convinced that, 
when it comes to settling definitely, the talents and 
capabilities, as well as the bent of mind, of your child 
will be satisfactory to you. If the young one has a 
mind for a uniform — well, let it be so. To cut one's 
way through life with a sabre is indeed for the most 
part pleasanter than any other mode. . . . 

VOL. I. 28 


The business paper for the Princess I will keep till 
her return, unless you write to me to forward it to 
her in Rome. 

May I bother you with a commission for provisions ? 
Forgive me for the way in which I am always making 
use of you, but I do so want to make a little joke for 
Billow, and I have no one now in Vienna who could help 
me in it except just you. It is about sending a pretty 
considerable amount of Hungarian Paprika * and a 
little barrel of Pfefferoni (little green Hungarian pepper- 
plants preserved in vinegar). Please ask Capellmeister 
Doppler where these things are to be procured genuine, 
and send them me as soon as possible to Weymar. I 
won't hide from you that I intend to go shares with 
Billow, as I am particularly fond of Paprika and 
Pfefferoni. So take care that there is enough sent, and 
that it arrives in good condition. — And as this will 
give you occasion to see Doppler, give him my warm 
thanks for the instrumentation of the Pester Carnaval (in 
which musical Paprika and Pfefferoni are not wanting). 
He has again been most successful in it, and I intend 
to push on in the autumn the publication of the six 
Rhapsodies for orchestra, for which indeed I shall 
have to obtain the permission or consent of three 
separate publishers (Schott, Senff, Haslinger) — a cir- 
cumstance which may of itself occasion some delay, 
especially if the gentlemen behave in regard to my 
wish as Spina did in so unpleasantly surprising a 
manner in regard to the instrumentation of the Schubert 
Marches. To tell you this incident briefly : I wrote to 
Dachs and asked him to request Spina in my name 

* Hungarian, Turkish, or Spanish pepper from Hungary. 


either to publish the three Marches himself in score — 
without any remuneration for me ! — or else to give me 
permission to bring them out through another publisher. 
Spina's answer, as Dachs gave me to understand, was 
that he could not consent to either the one or the other 
of my proposals (which were certainly reasonable 
enough) ! And thus I must wait until Spina can hit 
on a better plan ! When I have an opportunity, I shall 
venture to apply to him direct. 

For the present, in consideration of the fact that 
Paprika and Pfefferoni make one very thirsty, a barrel 
of Gumpoldskirchner (with a slightly sharp, flowery 
after-taste) would be very welcome to me, if by chance 
you are able to find a good kind and cheap. — Forgive 
me for all these Lucullian extravagances ! — 

I will write soon to Cornelius. Give him my heart- 
felt greetings. Also please remember me kindly to 
Dr. Kulke. I will give him my thanks by letter on 
the first opportunity for his Prometheus articles, as I 
would have already done through Cornelius, had he 
not started so suddenly. — 

Now farewell, dearest Eduard. Spare yourself and 
take" care of your health. Assure your dear wife of 
my heartfelt attachment, and kiss your children for 
your faithful 

F. Liszt. 

Weymar, July gth, 1S60. 

238. To Ingeborg Stark. 

[Summer, i860.] 

If a sort of idiosyncrasy against letters did not 
hold me back I should have told you long ago what 


pleasure your charming letter from Paris gave me,, 
and what a sincere part I have taken in your late 
successes, dear enchantress. But you must know all 
that far better than I could succeed in writing it. 

So let us talk of something else — for instance, Baron 
VietinghofFs 1 Overture, which you were so kind as to 
send me, and which I have run through with B[ronsart] 
during his short stay at Weymar — too short to please 
me, but doubtless much too long for you ! — The Over- 
ture in question is not wanting either in imagination 
or spirit. It is the work of a man musically much 
gifted, but who has not yet sufficiently handled his 
subject. When you have an opportunity, will you give 
my best compliments to the author, and give him also 
the little scale of chords that I add ? It is nothing but 
a very simple development of the scale, terrifying for 
all the long and protruding ears, 






that Mr. de Vietinghoft employs in the final presto of 

his overture (page 66 of the score). 

Tausig makes a pretty fair use of it in his Geister- 

scJiiff) and in the classes of the Conservatoire, in which 

the high art of the mad dog is duly taught, the existing 

elementary exercises of the piano methods, 


1 He took the nom deplume Boris Scheel, and in 1885 he performed 
his opera Dcr Damon in St. Petersburg, which originated twenty 
years before that of Rubinstein. 


which are of a sonorousness as disagreeable as they are 
incomplete, ought to be replaced by this one, 



1 ' ; — ^ tt 

which will thus form the unique basis of the method 
of harmony — all the other chords, in use or not, being 
unable to be employed except by the arbitrary curtail- 
ment of such and such an interval. 

In fact it will soon be necessary to complete the 
system by the admission of quarter and half-quarter 
tones until something better turns up ! — 

Behold the abyss of progress into which the abomin- 
able Musicians of the Future precipitate us ! 

Take care that you do not let yourself be contami- 
nated by this pest of Art ! 

For a week past it has done nothing but rain here, 
and I have been obliged to have fires and stoves lighted 
in 'the house. If by chance you are favoured with such 
a temperature at Schwalbach, I invite you to profit 
by it to make some new Fugues, and to make up, by 
plenty of work for the pedals, for the pedestrian exer- 
cise of which you would be necessarily deprived. 

B., to whom I beg you to give my cordial and kind 
remembrances, led me to hope that you will stay a 
couple of days at Weymar after your cure. If this 
could be so arranged I for my part should be delighted, 
and should pick a quarrel with you (even if it were a 


German quarrel !) if you were not completely persuaded 
of it! 

Remember me most affectionately to la Sagesse, and 
do me the kindness to count, under all circumstances, on 
Your very sincerely devoted 

F. Liszt. 

239. To Dr. Franz Brendel. 

Dear Friend, 

Your last proposition is the best. Come quite 
simply to me at Weymar. As I am now quite alone 
at home we can hold our conference and arrange 
matters most conveniently at the Altenburg. I am 
writing at the same time to Billow at Wiesbaden 
(where he is giving a concert to-morrow, Friday), to 
beg him to arrange with you about the day on which 
the meeting shall be held here. You two have to 
decide this. Of course you will stay with me. There 
shall also be a room in readiness for Kahnt. 

With regard to Wagner's pardon 1 I am expecting, 
reliable information shortly. It seems strange that 
the Dresden papers should not have been the first 
to give the official announcement, and that an act of 
pardon of H.M. the King of Saxony should be made 
known through the " Bohemia " (in Prague). Wagner 
has not yet written to me. 

To our speedy meeting. Heartily your 

F. Liszt. 

August gth, i860. 
1 Wagner had been exiled from Germany for political reasons. 


240. To Princess Caroline Sayn-Wittgenstein.* 

Weymar, September l^t/i, i860. 

I am writing this down on the 14th September, 
the day on which the Church celebrates the Festival of 
the Holy Cross. The denomination of this festival is 
also that of the glowing and mysterious feeling which 
has pierced my entire life as with a sacred wound. 

Yes, " Jesus Christ on the Cross," a yearning long- 
ing after the Cross and the raising of the Cross, — this 
was ever my true inner calling ; I have felt it in my 
innermost heart ever since my seventeenth year, in which 
I implored with humility and tears that I might be 
permitted to enter the Paris Seminary ; at that time I 
hoped it w T ould be granted to me to live the life of the 
saints and perhaps even to die a martyr's death. This, 
alas ! has not happened — yet, in spite of the transgres- 
sions and errors which I have committed, and for 
which I feel sincere repentance and contrition, the. 
holy light of the Cross has never been entirely with- 
drawn from me. At times, indeed, the refulgence of 
this Divine light has overflowed my entire soul. — I 
thank God for this, and shall die with my soul fixed 
upon the Cross, our redemption, our highest bliss ; and, 
in acknowledgment of my belief, I wish before my 
death to receive the holy sacraments of the Catholic, 
Apostolic, and Romish Church, and thereby to attain 
the forgiveness and remission of all my sins. Amen. 

I thank my mother with reverence and tender love 

* Portions of the above were published in the Nate Zeitschrift 
fur Musik of 4th May, 1SS7. 


for her continual proofs of goodness and love. In 
my youth people called me a good son ; it was 
certainly no special merit on my part, for how would 
it have been possible not to be a good son with so 
faithfully self-sacrificing a mother ? — Should I die be- 
fore her, her blessing will follow me into the grave. 

I owe it to my cousin Eduard Liszt (Dr. and Royal 
County Councillor of Justice in Vienna) to repeat here 
my warm and grateful affection for him, and to thank 
him for his faithfulness and staunch friendship. By 
his worth, his talents, and his character he does honour 
to the name I bear, and I pray God for His blessings 
on him, his wife, and his children. 

Among our Art-comrades of the day there is one 
name which has already become glorious, and which 
will become so ever more and more — Richard Wagner. 
His genius has been to me a light which I have 
followed — and my friendship for Wagner has always 
been of the character of a noble passion. At a certain 
period (about ten years ago) I had visions of a new 
Art-period for Weymar, similar to that of Carl August, 
in which Wagner and I should have been the leading 
spirits, as Goethe and Schiller were formerly, — but 
unfavourable circumstances have brought this dream 
to nothing. 

To my daughter Cosima I bequeath the sketch of 
Steinle representing St. Francois de Paul, my patron 
saint ; he is walking on the waves, his mantle spread 
beneath his feet, holding in one hand a red-hot coal, the 


other raised, either to allay the tempest or to bless the 
menaced boatmen, his look turned to heaven, where, 
in a glory, shines the redeeming word " Caritas." — 
This sketch has always stood on my writing-table. 
Near it there is an ancient hour-glass in carved wood 
with four glasses, which is also for my daughter 
Cosima. Two other things which have belonged to 
me are to be given as a remembrance to my cousin 
Eduard Liszt and to my much-loved and brave son-in- 
law Hans von Billow. 

Some of the members of our Union of the " New 
German School " — to whom I remain deeply attached 
— must also receive some remembrance of me; Hans 
von Bronsart, Peter Cornelius (in Vienna), E. Lassen 
(in Weymar), Dr. Franz Brendel (in Leipzig), Richard 
Pohl (in Weymar), Alex. Ritter (in Dresden), Felix 
Draseke (in Dresden), Professor Weitzmann (in 
Berlin), Carl Tausig (from Warsaw) — either a ring 
with my sign-manual, a portrait, or coat-of-arms. — May 
they continue the work that we have begun — the 
honour of Art and the inner worth of the artist con- 
strains them to do so. Our cause cannot fail, though 
it have for the present but few supporters. — 

One of my jewels set as a ring is to be sent to 
Madame Caroline d'Artigaux, nee Countess de St. 
Cricq (at Pau, France). To the Princess Constantin 
Hohenlohe (nee Princess Marie Wittgenstein) I be- 
queath the ivory crucifix (cinque-cento) which was 
given to me by my kind patron the Prince of Hohen- 
zollern-Hechingen — also a pair of studs with five 


different stones, which form the five initials of my 

And now I kneel down once more to pray " Thy 

kingdom come ; Thy will be done on earth as it is 

in heaven ; forgive us our trespasses as we forgive 

them that trespass against us ; and deliver us from 

evil. Amen." 

F. Liszt. 

Written the 14th September, i860, on the Festival 
of the raising of the Holy Cross. 


To Herr Gross, a member of the Weymar Grand 
Ducal Royal Orchestra (trombone and double-bass 
player), who has for a number of years looked after 
the copying of my works and the arranging of the 
orchestral and voice parts of them in the library of 
the Altenburg, I bequeath a present of one hundred 
thalers for the faithful, devoted service he has ren- 
dered me. 

To the names of my friends of the New German 
vSchool is to be added one more, or rather I ought to 
have mentioned it first ; it is that of Mr. Gaetano 
Belloni (in Paris). — He was my Secretary during the 
period of my concert tours in Europe, from 1 841 to 
1847, aR d was always my faithful and devoted servant 
and friend. He must not be forgotten. Moreover, 
whether he will or no, he belongs to the New German 
School, by his attachment to me, and also by the part 
he took later on in the Berlioz and Wagner concerts. 


I wish to be buried simply, without pomp, and if 
possible at night. — May light everlasting illumine my 
soul ! 

241. To Dr. Franz Brendel. 

September 20th, i860. 

Dear Friend, 

I send you by my friend Lassen 1 a little parcel 
of songs (eight numbers), w 7 hich I beg you to give to 
Kahnt. Of several of them I have kept no copy — and 
I therefore beg Kahnt not to lose them. As regards the 
numbering of them (the order of succession), they are 
to be kept as I noted down some time ago (on a bit of 
paper w T hich I gave Kahnt when he was here). 

I also add a Quartet for men's voices. It is the 
Verein song " FriscJi auf zu neuem Leben" * written for 
the New Weymar Verein by Hoffmann von Fallersleben. 
The passage " von Philistcr GescJirei" f will probably 
amuse you, and the whole thing is kept rather popular 
and easy to be performed. If it does not make a 
bother let it be tried in Leipzig when you have an 

N.B. — If you think the designation on the title-page 
" Written and composed for the New Weymar Verein " 
will give offence, it can be left out, and the title can run 
simply, " Vereins Lied," by Hoffmann von Fallersleben, 
composed for male chorus by F. L. 

1 Born 1830, became Court music-director 1858, and Court conductor 
in Weimar after Liszt's withdrawal (1S61) ; celebrated as a composer 
of songs. 

* " Uprousc to newer life." 

f " Of Philistine cry.*' 


In any case I shall be glad if Kahnt can bring the 
little thing out soon, and will give some sort of illustrated 
title-page, expressive of the sense of the poem. 

The remarks which I have added in pencil are to be 
engraved with it. I hope the printer will be able to 
read my bad writing — if not will you be so kind as to 
make it clear to him ? 

I am writing to Vienna to-day. The Prometheus parts 
and score will be sent to you immediately. 

I expect Bronsart here at the end of this month. . — . 

Your statute-sketch is in all essential points as judicious 
as it is practical. It offers a sure basis of operations 
for the next Tonkunstler-Versanunlung, where assuredly 
the great majority of the members will agree with your 
proposals. Then the point will be to work on vigor- 
ously towards the accomplishment, and to put aside 
the much that is " rotten in the State of Denmark." 

Before the Euterpe concerts begin I shall in any 
case see you. Next Sunday I go to Sondershausen, 
w T here Berlioz' Harold, a. new Oboe Concerto by Stein, 
Schumann's Genoveva Overture, the Introduction to 
Tristan und Isolde, and my Mazeppa will be given. 
The latter piece is popular to wit ... in Sonders- 
hausen ! — 

Very sonderhauslich* isn't it ? 

Hearty greetings to your wife from your 

F. Liszt. 

P.S. — The ninth song by Cornelius is still wanting. 1 
But in the meantime the printing can be going on. The 

* A play on the words Sondershausen and sonderbar = strange. 
1 The song " Wieder mbchf ich Dir begegnen " (" Once again I fain 
would meet thee ; '). 


nine numbers form the seventh part of the " Gesammelte 
Lieder." If Kahnt wishes, each song can be published 
separately, especially the Zigeuner, Nonnenwerth, etc. 

Draseke has been with me a couple of days, and is 
coming shortly to you. His works captivate me in a 
special degree, and personally I am very fond of him, 
which indeed I also was formerly, but this time still 
more. Capacity and character are there in abundance. 

242. To Eduard Liszt. 

Weymar, September 20th, i860. 

The true and loving character of your whole 
being, as well as of your letter, dearest Eduard, touches 
me always with joy, and fortifies me ; but with your 
letter of to-day is mingled also somewhat of sadness. 
It is conceivable that the ebb of the Milanese and 
Hungarian Civil Service employe's, with its effect on 
Vienna, has acted as a check upon your very justifiable 
and well-founded prospects of promotion. This is all 
the more to be regretted as, years ago, I was assured 
many times from a trustworthy official source that 
your suitability and deserts were far above the official 
position that you hold. Without wanting to preach 
to you unseasonably, let me assure you of my sincere 
sympathy in the disappointments you have so unde- 
servedly to bear, and remind you also how things 
generally go badly in this world with the better and best 
sort of men. One must not let oneself be embittered by 
bitter experiences, and one must bear all sorts of morti- 
fications without mortification. 

I will also repeat for your amusement a droll saying 


of General Wrangel's : " A man should never vex 
himself; — if there must be vexation anywhere, let him 
rather vex somebody else ! " — The best way, in case of 
extreme necessity to vex others, is to bear imperturbably 
many an injury and unpleasantness — without prejudice 
to any defence or help that may offer, when opportunity 
occurs— for we were not born to sleep our lives away ! — 

Under the given circumstances one cannot do other- 
wise than agree with your resolution to let your son go 
into the Military Academy when he is eleven years old. 
May this young Franz bring you all the happiness that 
your older Franziskus wishes you from his innermost 
heart. 1 — 

In the expectation of this we will comfort ourselves 
by swallowing Pfefferoni and Paprika together with 
Gumpoldskirchner. Have I ever told you how excellent 
the latter, which you had chosen just right, tasted ? 

It is almost impossible to further B.'s affairs. You 
think it would be right to let his drama be examined 
by a " competent authority." Undoubtedly ; but that 
will not help him, so long as this competent authority, 
who here could be none other than Dingelstedt, is not 
able to help him any further. As far as I know our 
Intendant he will not condescend to perform King 
Alphonso) but none the less I will speak to Dingel- 
stedt about it, and will prevail on him first of all to 
write a few lines to B., as the rules of courtesy demand. 
I scarcely hope to effect more than this, glad as 1 
should be if it happened so, for you know that I 
am glad to show myself obliging. It is doubtful also 

1 He did not become a soldier, but the renowned Professor of Law 
now teaching at the University of Halle. 


whether B. will have much better chances with other 
Intendants — for, as it seems, the good man has decidedly 
bad luck. Please make my excuses to him if I do not 
answer his letter other than by a silent condolcance (in 
German Beleidsbezeiigung /). — It has become horribly 
difficult nowadays to make a footing on the boards — 
"which signify the world" — especially for writers of 
classic tragic-plays, whose lot is far more a tragic than 
a playing one ! — Things certainly are not much better 
with most of the Opera composers, although that genre 
is the most thankful one of all. Without a strong dose 
of obstinacy and resignation there is no doing any- 
thing. In spite of the comforting proverb " Geduldige 
Schafc gehen viele in den Stall" * there is for the greater 
number and most patient of the sheep no more room in 
the fold, to say nothing of food ! — Thus the problem 
of the literary and artistic proletariat becomes from 
year to year more clamorous. 

Your orchestral concert plan has surprised me very 
much, and I thank you from my heart for this fresh 
proof of your energy and goodwill. Yet {or this year 
I think it would be more judicious to pause, for several 
reasons which it would lead me rather too far to explain, 
and which, therefore, I prefer to reserve for a viva voce 
talk. They relate to (A) my personal position and 
something connected with it socially ; (B) the position 
of musical matters among artists and in the Press, which 
not only influence but intimidate the public, disconcert 
it, and palm off upon it ears, with which it cannot 
hear. This temporary very bad state of things I think 

* The English equivalent seems to be " Patience and application 
will carry us through." 


I have, alas ! at all times quite rightly acknowledged, 
and, if I do not greatly mistake, it must surely soon 
perceptibly modify in our favour. Our opponents 
" triumph far more than they conquer us," as Tacitus 
says. They will not be able to hold their narrow, 
malicious, negative, and unproductive thesis much longer 
against our quiet, assured, positive progress in Art- 
works. A consoling and significant symptom of this 
is that they are no longer able to support their 
adherents among living and working composers, but 
devour them critically while the public is so indifferent. 
The resume of the whole criticism of the opposition 
may be summed up in the following words : " All the 
heroes of Art in past times find, alas ! no worthy 
successors in our day." But our time will not give 
up its rights — and the rightful successors will prove 
themselves such ! 

More of this when we have an opportunity. You 
have doubtless heard that a similar plan to yours is 
in progress in Leipzig. My friend Bronsart undertakes 
the direction of the Euterpe concerts for this winter, 
and there will be some rows about it. We will await 
the result ; if it should not be satisfactory, yet the 
matter is so arranged that it cannot do us any great 
harm. As regards Vienna I think it would be wisest 
to let this winter pass by without troubling ourselves 
about it. Messrs. B., V. B. f and their associates may 
peacefully have Symphonies and other works performed 
there and mutually blow each other's trumpets. 

I have still a request to make to you to-day, dearest 
Eduard. Persuade Herbeck to send the score and the 
chorus and orchestral part of my Prometheus at once 


to C. F. Kalint, the music publisher in Leipzig. The 
work is fixed for performance at one of the Euterpe con- 
certs, which will take place before Christmas of this year; 
so it is necessary that the choruses should be studied 
in time. Kahnt has already written to Herbeck and also 
to Spina — but as yet he has received neither an answer 
nor the parts and score of Prometheus that he wants. 

Take the same opportunity of telling Herbeck that 
I should like once to hear the four Schubert Marches 
which I instrumented for him, and I beg him to send 
the score of them to me at Weymar. 

Forgive me that I always trouble you with all sorts 
of commissions — but my Vienna acquaintances are so 
lazy and unreliable that I have no other alternative but 
to set you on everywhere. . — . 

Heartfelt greetings to your wife and children from 
your faithful and grateful p < Liszt 

P.S. — I have written something to Cornelius about 
my latest compositions, which he will tell you. 

I expect the Princess here in October only. I will 
tell you, later on, much about her stay in Rome, some 
of which is agreeable. 

243. To Hoffmann von Fallersleben. 

My dear, honoured Friend, 

The melancholy tidings were reported to me 
by Grafe on Monday evening (in the New Weymar 
Verein)} It came upon us all with a most mournful 

1 Hoffmann, after he had obtained in May i860 the position of 
librarian to the Duke of Ratibor at Schloss Corvey, near Hoxter-on- 
the-Weser, lost his wife. 

VOL. I. 29 


shock, and truly it needs no further words to assure 
you of my heartfelt sympathy in your grief! — Thank 
you for having thought of me. The Princess, who was 
always so attached to your dear good wife, has not 
yet returned from Rome — and I do not expect her till 
towards the end of November. Unfortunately I must 
remain here entirely until then — otherwise I should 
assuredly come at once to you. . . . Forgive me, there- 
fore, that only from afar can I tell you how sincerely 
and truly I remain your faithfully attached friend, 

October 30th, i860. F ' LlsZT - 

I have sent your charming birthday gift for October 
22nd (text and music) to the Princess. 

244. To Professor Franz Gotze in Leipzig. 

Dear, honoured Friend, 

Do not think me indiscreet if I say something 
to you about which you yourself must know best. 
The artistic gifts of your daughter are as rare as they 
are pronounced. I have heard her sing and declaim 
several times in the last few days, and each time 
with increasing interest. Will you not give her carte 
blanche, and grant your consent to the artistic career 
which is hers by nature and which can hardly be put 
aside ? ' I know that this may not be a very easy 
decision for you, — but, much as I usually refrain from 
giving advice of this kind, yet I cannot do otherwise 

1 Liszt, like others, was labouring under the mistake (for reasons 
which cannot be discussed here) that Gotze did not intend his 
daughter to pursue the career of an artiste, though he had had her 
educated both as a singer and dramatically. 


than make an exception in this case, and intercede with 
you to let your daughter come out in public — because 
I am convinced that you will not regret having sup- 
ported her with fatherly compliance in this. 

Dr. Gille much wishes to gain your daughter for the 
next concert in Jena. I think that a debut there would 
in any case do her no harm. Later on I shall ask you 
whether you will allow Auguste shortly to appear here 
at a Court concert. 

Excuse my interference in so delicate a matter by 
reason of the sincere interest I take in your daughter, 
and the faithful friendship with which I remain 
Your unalterably sincerely attached 

Weymar, November tfh, i860. *. LlSZT. 

Send a telegram to Gille in reply — if possible, 
"Yes," as the concert takes place next Sunday. 

245. To Dr. Franz Brendel. 

Dear Friend, 

. — .1 take a sincere interest in the progress of 
the Euterpe concerts — a progress which up to now has 
been favourable on the whole ; you have the chief 
merit in this, just because it rests with you to neutralise 
difficult and opposing elements. 

I rejoice much that Bronsart so thoroughly fulfils 
my expectations. He is a director-gentleman.* I 
shall hear more about the concerts through Weiss- 
heimer, 1 who is advertised here for the day after 

* " Gentleman " put in English by Liszt. 

1 A composer ; was for some time second director of the Euterpe 


to-morrow; until now I have only heard something 
about them from Fraulein Hundt 1 yesterday. 
With best greetings, yours in all friendship, 

F. Liszt. 

Weymar, November i6f/i, i860. 

Will you be so kind as to send me at once a couple 
of copies of Miiller's new brochure ? 

. — . If it is possible to hurry the bringing out 
of my seventh book of songs I shall be glad. Also 
the " Verems-Lted." 

Give my most friendly greetings to Gotze — and at 
the same time tell him that his daughter (of whose 
great artistic powers there is no doubt) sang and 
declaimed last Sunday in Jena with the greatest success. 
The vocal numbers were "two songs by Schumann," 
one of which was encored — and at the end of the 
concert she declaimed the Ballade Leonore (with my 
melodramatic pianoforte accompaniment). 

Have you heard anything of Wagner ? Ricnzi is 
being studied here, and I have undertaken to conduct 
the rehearsals. With regard to the performance I 
have at once mentioned decidedly that nothing will 
induce me to make an exception and conduct it — con- 
sequently Musik-director Stor will conduct it. 

246. To Dr. Franz Brendel. 

Dear Friend, 

Since I have again had a conference with re- 
spect to the Tonkiinstler-Versammlung in Weymar next 
August, I am happy to be able to tell you that not 

1 A composer, at that time in Weimar ; has since died. 


only will there be no obstacle to it, but that we may 
expect that much will be done to further the matter 
here. In your next announcement in the Neue Zeit- 
schrift about the To n kilns tier- Vers amm lung you are 
therefore fully authorised to intimate the readiness of 
the artists, both vocal and instrumental, here and in the 
neighbourhood (Jena, Eisenach, Sondershausen, etc.), 
as also the favourable disposition of H.R.H. the Grand 
Duke, for the matter. This latter point must be 
mentioned with some formality, so that I can submit 
your article to my gracious master. 

According to my opinion it would be well if, in 
this connection, you were to touch upon the musical 
antecedents of Weymar (performances of Wagner, 
Berlioz, Schumann), also the founding of the Academy 
of Painting by the Grand Duke which took place lately, 
and also the protectorate which H.R.H. has undertaken 
of the Allegcmeine deutsche Schiller-Stiftung * (the first 
place of which is to be Weymar next year). 

Yours in all friendship, 

December 2nd, i860. F. LlSZT. 

P.S. — With the next Tonkilnstler-Versammlung I join 
three principal things : — 

(1) The founding and establishing of the Tonkilnstler- 

(2) That the States should take part (according to your 
idea) in the principal musical interests to be supported. 

(3) The introduction and proposal of the projected 
music school. 1 

* The Universal German Schiller Scholarship. 

1 Liszt was endeavouring at that time to found a music school in 

4 54 TO C. F. KAHNT. 

247. To C. F. Kahnt, Music Publisher in Leipzig. 1 

Dear Sir, 

I send you herewith the proof-sheets of the 
seventh book of my songs, and of the " Vereins-Lied" for 
the chorus of men's voices. I quite concur in the new 
title-page, which can also be employed for each single 
song. It is better than the former one, only I shall 
be glad if there are no other advertisements on the 
back side, and it is left bare. 

On the 17th of this month the Neu-Weymar-Verein 
intends to give a little Beethoven-Festival, and the 
" Vereins-Lied" is included in the programme. I beg, 
therefore, that you will send me some proof-copies 
by the 1 2th December — if it is not possible to get the 
edition ready so soon. — . 

The three Chansons and arrangement of the three 
Quartets for men's voices (published in Basle) are all 
completed in my head ; you shall have them as a new 
manuscript at the end of the week. There is no hurry 
about the publishing of the Chansons and Quartets 
(probably 1 shall entitle them Aus dem Zelt, or 
Aus dem Lager* three songs, etc.). But as you are 
kind enough to place some reliance on my songs, I 
should like to commit to you next a little wish of mine 
— namely, that my Schiller Song (which appeared in 

1 Kahnt was the publisher of the Netie ZeitscJirift fur Mitsik for 
more than thirty years (ever since 1855) ; also the publisher of several 
of Liszt's compositions, co-founder and for many years cashier of the 
Allgcmeine deutsche Musikvcreins, and, after 1873, Councillor of Com- 
mission in Weimar. 

* " From the Tent," or " From the Camp." They were eventually 
entitled "Geharnischtc Lieder" (" Songs in Armour "). 

TO C. F. KAHNT. 45 5 

• the Illustrated in November last) may soon be pub- 
lished, and also a somewhat repaying (rather sweet !) 
Quartet for men's voices, with a tenor solo—" Hiitte- 
lein, still und klein." * It has been already sung with 
success by the Vienna Mdnner-Gesangverein, and by 
some Liedertafeln} I add the two manuscripts to the 
parcel of proofs— perhaps you will take an opportunity 
of trying both the little things in a small circle. If 
Herr Professor Gotze would have the kindness to 
undertake the solo-part in the " Hiittelein " I should 
be very much obliged to him. Herr Wallenreiter 
might make a good thing of the baritone solo-part in 
the Schiller Song. 

In case you should be disposed to acquiesce in my 
wish, and to undertake the publishing of the two or 
three men's choruses, I would propose to you to bring 
them out as the opening numbers of a short succession 
of " Compositions for Male Voices" and also, as with the 
Songs, to give them a title-page (with a statement of 
the different numbers— to which the Basle Quartets 
might also be added ; thus six numbers up to now). 
Do not fear, dear sir, an over-productiveness in this 
genre on my part! But if by chance one or other 
number of these Quartets should have some spread, 
I should not dislike to write a couple more, either 
secular or sacred. Among the latter I hope that the 
Psalm " The Heavens declare," which will be performed 
next summer at a great Festival of Song, will produce 
a good effect. 

Pray pardon my verbosity — it is not usually my way 

* "Little hut, so still and small." 
1 Singing societies. 

45^ TO C. F. KAHNT. 

to indulge in unnecessary words; and accept, dear sir, 
the assurance of the well-known sentiments with which 
I remain, 

Yours most truly, 

F. Liszt. 

Weymar, December 2nd, i860. 

The first performance of Rienzi is announced for 
the second day of the Christmas holidays. I have 
engaged to conduct the rehearsals, but at the same 
time have positively refused to conduct the performances. 
Herr Mnsik-director Stor undertakes that. 1 

248. To the Music Publisher C. F. Kahnt. 

. — . With regard to the publishing of my Songs 
for men's voices I do not wish in the least to hurry 
you, dear sir — yet I should be glad if you could 
advertise the things soon — and possibly on the back of 
the title-page of my songs (?), if that does not seem 
impracticable to you. The two collections (the songs 
and the men's songs) have a certain connection, and 
that is why I make this suggestion, about which you 
must decide. A couple of months ago Louis Kohler 
wrote to me in his witty, friendly manner, " You really 
owed us some Quartets for men's voices, which Bier- 
brudcr* metamorphosed into demi-gods ! " and when 
the songs were published, I was already intending to 
let the men's songs follow shortly after. As most of 

1 After the opposition of a coterie that was inimical to Liszt, to 
which, as is well known, Cornelius's Barber of Bagdad fell a 
sacrifice, Liszt had finally resigned his post as conductor of the 

* "Beer-drinkers," "brothers of the glass." 

TO C. F. KAHNT. 457 

these latter are tolerably short, I think that the score 
of the twelve will not require more than forty, or at 
the most fifty, plates (small size). Economy might be 
employed in publishing the parts by having them well 
copied. Of course engraving is always the best, but I 
do not want to precipitate you into a too ruinous out- 
lay — and if the copying is done by an experienced 
copyist it looks very well, and is quite easy to read. 

I am writing to Schuberth by the next post to tell 
him (what he might know without that) how un- 
willingly and how seldom I meddle with dedications — 
especially dedications to people and societies that I 
don't at all know, as he would like me to do ! In the 
somewhat numerous works of mine that have appeared 
of late years you will find very few dedications. The 
twelve Symphonic Poems have none. The Gran Mass 
is also without one — and in the Songs I have left out 
the earlier dedications. Therefore, before I try in 
America a method which I have almost given up in 
Europe, some time may yet elapse. Schuberth means 
thoroughly well by me, for which I am obliged to him 
— but he means well in his own way, which cannot 
always be mine. 

May I beg another little favour of you ? At the 
Court concert on the 1st January I should like to 
let the Retter-Marsch of F. Schubert (not Julius !), 
which I instrumented, be performed, and I have no 
longer either the score or the parts. You would lay 
me under an obligation if you could quickly send them 
to me. I have never heard the piece ; and as it has 
already been given with success in Vienna and Leipzig 
I may almost venture to expect that the company here 

45 8 TO C. F. KAHNT. 

may be bold enough to go half-way in the same 
direction ! — 

Possibly I shall also attempt the Mephisto Waltz 
the same evening, as well as a couple of my orches- 
trated songs. (I may mention, by the way, that I have 
orchestrated six songs of Schubert's — "the Erlkonig, 
Gretchen, the jungc Nonne, the Doppclgcinger, Mignon, 
and Abschied" — and three of my own — " Loreley, 
Mignon, and the three Zigeuner." Later on, if a weak 
moment should come over you, I should be glad to 
impose these three latter upon you in score — but you 
shall hear them first.) 

A thousand apologies for all this random talk about 
compositions, and best greetings from yours in all 

F. Liszt. 

Weymar, December igt/i, i860. 

249. To Dr. Franz Brendel. 

Dear Friend, 

Your article " For the New Year " is most capital 
and worthy of you. In three places I would merely 
venture to propose some slight alterations for your 
consideration. You will find them marked + and with 
the letters A, B, C. 

At + A it would suit things better to say as 
follows : " Concert-rooms and theatres, the scene of 
the most palpable speculation, personal passion, and 
severing struggles." Or, if you think the word most 
palpable too strong, let us put another, such as u the 
commonest " or " the most mercantile speculation," etc. 

+ B, instead of opinion, "the most affected assump- 


tion " (?) Here there is more question of assumption 
than of opinion. If angenommen [affected] sounds too 
much like Anmassung [assumption], let us put " the 
widespread assumption." 

+ C, instead of "outward forces," I would rather 
have another word, such as "powers," "factors," 
"levers," or any one that is better. I do not know 
why the " Mcichte" [forces] do not seem to me quite 
right here. 

Finally, + D, I think it would be advisable ruth- 
lessly to strike out the following short sentence : 
" Indeed it would not be saying too much if it were 
to be asserted that in many circles it takes the place 
of religion," — apart from the consideration of whether 
it is accurate or not, because for the most part the 
men of the State are sure to take offence at it. " How," 
they will say, " you wish us to support a movement 
that aims at nothing less than the doing away with 
religion ? " — and, behold, there is a new bugbear ready, 
and the most healthy and just endeavours are checked 
for many a year ! — 

I am in perfect agreement with all the rest, with 
the exception of the parenthesis marked* — "without 
thereby, as has often been the case hitherto, falling 
into the unpractical mistake of conceding to the public 
things which they do not want, and diminishing the 
revenues." For, by the way, let me also say parentheti- 
cally that, if I had not done this with most resolute 
intention for many years, Wagner could not truly have 
said in his letter to Villot (page 40 of the French 
edition of his translation of the four Operas) : " Tout 
a coup mes relations avec le public prirent un autre 


tour, sur lequel je n'avais pas compte le moins du 
monde : mes operas se repandaient." * 

Both on this account and for other reasons I think 
this parenthesis dangerous, and can in no wise sub- 
scribe to it ! 

With friendliest greetings, your sincere 

F. Liszt. 

December lgth, i860. 

I have written a long letter to Kahnt to-day. In 
case he cannot read my writing, will you be so good 
as to help him with it ? 

250. To Felix Draseke. 

You have again encouraged and rejoiced me, 
my excellent friend, by your affectionate compre- 
hension of my meaning and endeavours in the Dante 

Once more my heartfelt thanks for it. Later on, 
when Hamlet and the Hunnenschlacht are published, 
please do not refuse me the special satisfaction of 
publishing the whole of your articles on the Symphonic 
Poems in the form of a pamphlet. We will speak 
further of this by word of mouth, and possibly a few 
musical examples could be added to the earlier ones. 

How far have you got with the "Loreley " ? — Only 
take hold of the witch with tender force. — Geibel has 
lately brought out his opera-text to the " Loreley," and 
several composers are already setting to work on it 

* "All at once my relations with the public took a fresh turn, on 
which I had not calculated the least bit in the world : my operas 
were becoming known." 


(or under it). In the present state of things there 
is not much to be expected from effusions and feeble 
attempts of that kind. On the other hand I am ex- 
pecting something great, beautiful, and magical from the 
Symphonic form into which you will shape this story— 
a story which just as easily becomes dry and tedious 
as, on the other hand, it can be melting. Take care 
that we bring your work to a hearing at the next 
Tonkilnstler-Versammliing (in July — August) here. 

O. Singer's Entschwundenes Ideal [Vanished Ideal] 
is full of music; noble in conception and powerfully 
worked out. I shall write to him shortly about it, and 
send him my seventh book of songs, as you told me 
that he rather liked the earlier ones. — 

An excellent little work by our friend Weitzmann 
lies before us again : " The New Science of Harmony 
at Variance with the Old." The " Album Leaves for 
the Emancipation of Fifths" as a supplement are 
stirring; and the "Anthology of Classical Following 
Fifths," with quotations from Hiller and Hauptmann, 
is especially instructive. In Harmony, as in other 
things, it is no longer a question of reforming what 
has been laid aside, but rather of the fulfilling of the 

On any day, my dear friend, you will be heartily 
welcome to 

Yours very gratefully, 

F. Liszt. 

December 30th, i860. 

Towards the middle of January I am going to Paris 
or a couple of weeks to see my mother (who is still 
constantly ill). 


251. To Dr. Franz Brendel. 

[Beginning of January, 1 86 1.] 

Dear Friend, 

A thousand thanks for your letter, and still more 
excuses that I have delayed so long with my answer. 
On New Year's Day we had a grand Court-concert — 
on the top of which there was a banquet at the Erbprinz, 
which lasted till four o'clock in the morning ; on the 
other days perpetual dinners and suppers, at which I 
was also obliged to be present. Besides all this, the final 
revision of my second concerto (and a couple of smaller 
piano pieces) occupied me much. Schott had under- 
taken the publication of them, and I did not wish to 
annoy him by letting the somewhat numerous alterations 
which had to be made in them wait to be corrected 
until the proofs were printed, etc., etc. 

From all the transitions and connection of the move- 
ments (which I am now most carefully working out 
in the Concerto), I pass at once without transition to 
the answering of your questions. 

1. I think Bronsart's engagement for next year at 
four hundred thalers is advisable. 

2. If Weissheimer has really made himself impos- 
sible, Damrosch should be the next one to be thought 
of, as a colleague of Bronsart. There is no hurry 
about this affair, and we will talk over it again viva voce. 

3. The remaining four hundred thalers for X. I will 
send you at the end of this month. If you should 
require them sooner write me a couple of lines. 

4. The question of leave of absence is not easy to 
decide, so long as no definite date is fixed for the 


concert. Frau Pohl, for instance, had had leave once 
already — but then the date of the concert was altered, 
and in consequence of her absence it was of no use. 
For the rest I don't doubt that Frau Pohl can get leave 
of absence once more — I only beg you to let me know 
definitely the day, so that I may inform Dingelstedt of it. 

5. With regard to the co-operation of Messrs. v. 
Milde and Singer, it has its difficulties. They are 
both not without scruples in regard to the Euterpe, 
which, though they do not say so in so many words, 
might be summed up as follows : " If we co-operate in the 
Euterpe, we shut the golden doors of the Gewandhaus 
in our faces, and injure ourselves also in other towns, 
in which the rule of the Gewandhaus prevails. Ergo, 
it is more desirable, prudent (!), for us to act . . ." 
The rest you can add for yourself. Milde complains 
of the thanklessness of the part in the Stingers Fluch* 
the awful cold of the winter season, all the disagreeables 
in connection with obtaining leave, etc. Singer does 
not know what piece to choose, and also the E string 
of his violin is not quite safe, and more of that kind. 

6. Fraulein Genast is in a still worse position, for 
she is not quite independent of the intimidation (on 
classical grounds) of her father, and is, moreover, 
engaged for the next Gewandhaus concert (for the part 
of the Rose in Schumann's Rose's Pilgrimage). None 
the less she said to me from the beginning that she 
was perfectly ready to do whatever I thought advisable. 
In view of this surmise I must naturally be all the more 
cautious. She sings on the 22nd in Zwickau, on the 
24th (probably) at the Gewandhaus, and on the 31st 

* The Singer s Curse, by Schumann. 


in Aix-la-Chapelle. I have therefore advised her to 
come to an understanding with you herself personally 
in Leipzig on the 23rd, and to co-operate with you 
by preference as a singer of Lieder (with pianoforte 
accompaniment) at the soiree of the Euterpe on the 
29th. Yesterday evening I marked the following three 
songs for her, as the most suitable for the purpose : — 

A. "The Pilgrimage to Kevlaar" (composed for E. 
Genast lately by Hiller, and still in manuscript). 

B. A song of Rubinstein's : for instance, " Ah ! 
could it remain so for ever ! " (Tender allusion to the 
Gewandhaus !) 

C. The three Zigeuner (by me). 

The three songs would make up two numbers of 
the programme. — 

I especially beg of you, dear friend, not to make any 
protest against the song of Hiller. The plainly fair 
and just thing, which has nothing in common with 
the " elevated right " which is bestowed exclusively on 
Capellmeister Rietz and his associates (as the Leipzig- 
University expressed it), consists simply in not shutting 
the door to publicity in anybody's face, or maliciously 
and slily casting stones and mud at him. Regardless 
of the fact that we must not expect that they on their 
side will deal thus with us, we must consistently and 
faithfully carry out and fulfil this simple justice and 
fairness, and thus show the gentlemen how people 
of a nobler mind and more proper cultivation behave. 
You perhaps remember the opinion which I have many 
times given and proved by actions — especially at the 
Tonkunstler-Versammlung, when Frau Dr. Reclam sang 
Miller's (somewhat mediocre) Psalm, and . . . etc. 


After that I vote especially for the performance of 
one of Rubinstein's larger works, such as the proposed 
Symphony, and beg you to appoint Bronsart for it. — It 
would lead me too far to explain my views in detail ; 
that I have no concessions or favouritisms in view in 
this matter goes without saying. 

7. The co-operation of the violinist recommended 
by Schuberth must be considered, and even qualified, 
according to his talent. 

8. Tasso can quite well be performed without the 
harp. A pianino will do quite well, and I beg you 
most earnestly not to put yourself to any inconvenience 
for my things. In my orchestral works I have taken 
the larger measure of instrumentation (Paris, Vienna, 
Berlin, Dresden — or, if you prefer personal names, 
Meyerbeer, Mendelssohn, Wagner, Berlioz) ; but in 
spite of this most of them can be performed in smaller 
proportions, as has been most strikingly shown, for 
instance, in Sondershausen. The chief thing before 
all else is the conductor; — if he be a good and reliable 
musician things may then be well managed in a variety 
of ways — and in Tasso especially the harp is hardly 
wanted. So don't bother yourself any more about it, 
and soothe Bronsart. 

If I am not mistaken, I think I have now answered 
all the principal questions in your letter. As to what 
concerns personal matters we will talk about that 
shortly. I shall write one of these next days to 
Schuberth (as soon as I have finished my revisions for 
Schott). He has made me a proposal to which I am 
inclined to agree. 1 

1 The rest of the letter is missing. 
VOL. I. 3° 


252. To Dr. Franz Brendel. 

Dear Friend, 

I expressly wish that Weisshcimer should accom- 
pany the songs which Fraulein Genast will sing at 
the Euterpe soiree. I have especially commissioned 
him to make the motive of this wish of mine, if 
necessary, still clearer to you. With regard to the 
choice of songs you will easily come to an understanding 
with the amiable singer. But I, for my part, hold to 
the opinion that Hiller's Wallfahrt nach KevJaar is 
well suited to the programme. 

The Faust Symphony must be written out quite 
fresh once more before I send it to Schuberth. By 
the 15th February he will receive the manuscript, 
together with a couple of lines for Dorffel, who is almost 
indispensable to me as the corrector of this work. 

I shall be over head and ears in work the next few 
weeks, in order to do all that is necessary before I 
start on my journey to Paris, which I shall probably 
do on the 20th February. 

Best thanks for all the information in your last 
letter. Some things, indeed most things, are still 
going very badly — upon which we cannot and must 
not make ourselves any illusions ; — but if we are proof 
against these things we shall come out of them. 

Before and after Lowenberg (in the middle of 
February) I shall come and see you in Leipzig. 

Meanwhile hearty greetings and thanks from your 

January 20th, 1 86 1. F. L. 

You shall have the small sum for X. in the course 
of the week. 


253. To Dr. Fraxz Brendel. 

Dear Friend. 

By yesterday's post I sent you — 

A. The score of the second act of the Flying 
Dutchman — and two orchestral parts of the duet (these 
latter in order that the copyist, in writing it out, may 
guide himself by these, and may not add the terzet- 
ending, as it stands in the score — Weissheimer will 
give Thiimler the exact speed). Beg Thiimler to send 
me the score back soon, as it may possibly be wanted 
at Easter in the theatre. 

B. The last part (Mephistopheles and final chorus) 
of the Faust Symphony in score — and the complete 
arrangement of this same Symphony for two pianofortes. 

Will you be so good as to give these manuscripts 
to Schuberth ? I hope he will keep his promise and 
not delay the publication of the work. At the end of 
this week I will send Schuberth the score and the four- 
hand piano arrangement of the two Faust-episodes (" Der 
nachtliche Zug" [" The Nocturnal Procession "]— and 
the " Mephisto-Waltz "). I should be glad if these two 
things could come out in the course of this year. 

C. For Kahnt } the small score of the chorus "Die 
Seligkciten " [" The Beatitudes "], which I also hope 
may soon be published. It has been given here a couple 
of times in the Schloss orchestra and the parish church, 
and, as I have been told many times, has been spoken 
of in an exceptionally favourable manner. I have 
written few things that have so welled up from my 
innermost soul. 

1 think I shall be ready with the revision of 


the Prometheus score by next Saturday. I have 
already made two arrangements (for two and four 
hands, not two pianofortes) of the Reapers' Chorus, 
which I give Kahnt gratis. He shall get the whole 
packet early next Monday at the latest. Weissheimer 
tells me that the edition of the score shall be ready 
by the middle of July. If Kahnt prefers to let the 
Prometheus be copied, I have nothing to say against it ; 
I only beg that in this case he will employ a very 
clever and exact copyist — and, as I have already told 
him, that he will preserve the size of the other Symphonic 

N.B. — The division and distribution of the score — 
so that there may be as few unnecessary rests as 
possible, and that, where it can be done (as, for instance, 
at the beginning of the Tritons' Chorus, the Reapers' 
Chorus, etc), two sets of staves should be printed on 
one page — I beg that this may be entrusted to Herr 
Dorffel. I also do not wish the work to look like a 
conductor's score on the outside ! — and, before it is given 
into the hands of the engraver or copyist, it is necessary 
that the parts where two sets of staves come on to one 
page should be clearly indicated. My copyist here has 
made a very careless scrawl of the PrometJieus score, 
and I have therefore taken other work out of his hands, 
and have given him a good scolding. But there is no 
time to have a new score written, and therefore Dorffel 
must largely help out with the matter. 

N.B. — The piano arrangement must be put below 
the score, as it is in the manuscript. 

Kahnt can publish the arrangement of the Reapers' 
Chorus sooner or later, as he likes. 


The date of the Tonkiinstler-Versammlung can 
remain fixed for the 15 th August. I think it would be 
advisable for you to come soon to Weymar (perhaps 
at Easter), and to come to a direct understanding with 
Dingelstedt, M[usic] Dprector] Montag, and some 
others among those who are principally concerned in 
the matter. 

I would propose to you Dr. Gille, in Jena, as a 
lawyer, and a zealous co-operator in this affair. He 
is very ready to help, and reliable. — 

Are you really thinking of still giving the Prometheus 
at the Tonkiinstler-Versammlung ? It certainly would 
not be incompatible with the Faust Symphony (which 
I wish for in any case) — but I fear that it will bring in 
its train too much vexation and annoyance. 

We will speak further about this. 

Weissheimer will tell you some things with regard 
to the programmes. 

Riedel ought to conduct Beethoven's Mass. 

With heartfelt greetings, your 

Weymar, March 4 th, 1 86 1. ^ • 1— 

. p.s. — Advise Schuberth once more to bring out the 
book of songs by Lassen immediately — as he promised me. 

254. To Peter Cornelius in Vienna. 

Your letters, dearest friend, are ever a joy to my 
heart, as also this time on the 2nd April. 1 Although 
on that day I felt the absence of the Princess the most 
keenly, and the Altenburg was for me equally perturbed, 
yet the loving attachment of a few friends touched and 

1 Liszt's name-day. 


filled me with comfort. Remain ever to me, as I 
remain to you, faithful and steadfast, trusting in God ! — 

Unfortunately I have been able to do but very little 
work this winter. Revisions and proof-correcting took 
up almost my whole time. The two last Symphonic 
Poems, Hamlet and the HnnnenschlacJit, will come 
out directly. I will send them to you, together with 
a dozen Quartets for men's voices which Kahnt is 
publishing. By the end of July the choruses to 
Prometheus and the Faust Symphony will also be out. 
If we should not see each other sooner, I count on you, 
for certain, to be here for the Tonkunstler-Versammlung 
(5 th, 6th, 7th August), to which I give you, dearest 
Cornelius, a special invitation. I hope that Eduard, 1 
Tausig, Porges, Laurencin, 2 Kulke, Doppler, 3 are 
coming — and I beg you to give them a preliminary 
intimation of my invitation. The next number of 
Brendel's paper will give the programme — with the 
exception of the third day, which cannot be fixed until 
later. Perhaps you will give us a fragment of your 
Cid. In any case I wish your name not to be wanting ; 
and, if you should not have anything else ready, a 
couple of numbers from the Barber Abul Hassan Ali 
Eber shall be given. The charming canon at the 
beginning of the second act would be the best. 

I am delighted to think that you have been entirely ab- 
sorbed for a time in Tristan. In that work and the Ring 
des Nibelungen Wagner has decidedly attained his zenith ! 

1 Liszt's cousin. 

- Count Laurencin, a writer on music in Vienna. 

3 Franz Doppler (1821-83), a flute virtuoso; music-conductor at 
the Royal Opera in Vienna. He arranged with Liszt some of the 
latter's "Hungarian Rhapsodies" for orchestra. 


I hope you have received the pianoforte arrangement 
of Rhciugold which Schott has published. If not I will 
send it you. You might render a great service by a dis- 
cussion of this wonderful work. Allow me to stir you 
up to do this. The summer days allow you now more 
working hours ; realise some of these with Rheingold. 
The task for you is neither a difficult nor a thankless 
one ; as soon as you have seized upon the principal 
subjects representing the various personages, and their 
application and restatement, the greater part of the 
work is done. Let us then sing with Peter Cornelius, — 

" O Lust am Rheine, 
Am heimischen Strande ! 
In sonnigem Scheine 
Ergliihen die Lande ; 
Es lachen die Haine, 
Die Felsengesteine 
Im Strahlengewande 
Am heimischen Strande, 
Am vvogenden Rheine ! " i 

On the 30th of this month I am going to Paris for 
a couple of weeks — and towards the end of May I shall 
meet my daughter Cosima in Reichenhall, where she 
has to go through the whey-cure. Thank God, she is 
again on the road to recovery ! You can imagine what 

* Free translation, — 

" O joy of the Rhine 
And its homelike shore ! 
Where the bright sunshine 
Gilds the landscape o'er ; 
Where the woods are greenest, 
The skies serenest, 
In that home of mine 
By the friendly shore 
Of the billowy Rhine ! : ' 


grief took possession of me when I saw Cosima last 
winter suffering from a similar complaint to Daniel ! — 

I have satisfactory tidings from the Princess from 
Rome. The climate is having a very beneficial effect 
on her nerves, and she feels herself, in that respect, 
far more at home than in Germany. . . . 

She writes wonders to me about the last cartoons of 
Cornelius, 1 and her personal relations with the great 
master have proved most friendly. 

What will become of me in the latter part of the 
summer does not yet appear. But let us hold fast to 
our meeting again here at the beginning of August. 
Yours from my heart, 

April iSth, 1861. F. Liszt. 

A thousand hearty greetings to Tausig. 

255. To Hoffmann von Fallersleben. 

Dear, excellent Friend, 

I have received the enclosed note for you from 
the Princess. It comes to you with my most heartfelt 
greetings. Please forgive me for not having this time 
sent you my good wishes on the 2nd April ; 2 but as 
long as the Princess's absence lasts I recognise only 
sorrowful anniversaries and no festivals of rejoicing. 
Meanwhile rest assured that I think of you always with 
faithful friendship, and remain ever truly devoted to you. 

April 18///, 1 86 1. F. LlSZT. 

P.S. — I send you herewith the " Vercins-Licd" — and 
three other of your songs. 

1 The celebrated painter was the uncle of the addressee. 

2 Hoffmann's birthday, and at the same time Liszt's name-day. 


256. To Peter Cornelius.* 

Dearest Cornelius, 

Will you quickly sign the accompanying an- 
nouncement to the Tonkunstler-Versatnmlung with your 
good, beautiful name ? You must not fail me on this 
occasion in Weymar ! 

And yet another request, dearest friend. Will you 
go and see F. Doppler and tell him that I very much 
wish he could arrive with you on the 4th August at 
latest ? I hope he will not refuse me this pleasure 
— and if it is not inconvenient to him will he also 
bring his flute and undertake the part in Faust? 
With regard to the travelling expenses I have already 
written to my cousin Eduard ; he is to put a couple 
of hundred florins at your disposal; for it goes without 
saying that neither you nor Doppler will be allowed 
to spend a groschen out of your own purse for the 

You will meet Eduard here — and also Wagner, 
Hans, Draseke, Damrosch, Tausig, Lassen, and my 
■daughter (Madame Ollivier). 

To our speedy meeting then, my best Cornelius ! 
Bring your Cid with you as far as it is done, and 
kindly dedicate some days to your heartily devoted 

F. Liszt. 

Weymar, July \2tI1, 186 1. 

P.S. — Shortly after the Toukiinstler-Versaimnlung I 
shall be leaving Weymar for a long time. — 

* Autograph in the possession of Constance Bache. 


256A. To Peter Cornelius.* 

Dearest Cornelius, 

I have just been told that the score of the 
Barber of Bagdad is not in the theatre library here, as 
I thought, but that you have kept it. 

I can therefore no longer keep it a secret from you 
that I am intending to give the Terzet [Canon] from 
the beginning of the second act at the third concert 
(7th August) of the Tonkiinstler-Versammlung, and I 
have not the smallest doubt as to the capital effect that 
this exquisite piece of music will produce. 

But do send me by return of post the score of your Barber. 

The Terzet is a necessary integral part of our 
programme, which will consist of the " performance 
of manuscript works of the present day." — 

With heartfelt greetings, your 
July 14th, 1861. F. Liszt. 

257. To Alfred Dorffel. 

My dear Sir, 

Whilst giving you my warmest thanks for the 
great pains you have taken with the Faust score l I 
have, in conclusion, one more request to make. 

I wish to modify the prosody of the passage in the 
tenor solo, 

wig Weib - li - che. 

* Autograph in the possession of Constance Bache. This letter 
was left out by La Mara, but is inserted by the translator. 
1 As corrector. 


each time, just as I have written it on the accompany- 
ing note-sheet. If I mistake not, it would in this way 
be more singable and weiblicher [more womanly].* 

Accept, my dear sir, the assurance of my highest 
esteem and most friendly gratitude. 

F. Liszt. 

Weymar, July iSt/i, 1 86 1. 

P.S. — The Faust Symphony is to be given here on 
the 6th August. Perhaps it would be possible to 
you to be present at that concert, and to give me the 
pleasure of a visit from you. 

258. to hofconcertmeister edmund slnger in 

Dear Friend, 

The article in the Allgemeine Zeitiing on the 
Tonkiinstler-Versammlung (12th August) lis an event, 
and I thank you sincerely for the part you have taken 
in it. 1 

Although, as you know, I must on principle keep 
myself unconcerned as regards criticism, as I cannot 
allow it the first word in matters of Art, yet it has long 
been my wish to see the " systematic opposition " to the 
present incontrovertible tendency (or, better, " deve- 
lopment ") of musk not exclusively represented in the 
Allgemeine Zeitiing. Just because this paper is not 
a merely local, but an European and intellectually 
historical one, did the local aversions and the diatribes 
of the island " Borneo " appear to me far more in- 

* Referring to Goethe's words "Das ewig weibliche " (" Th' eternal 

1 It was written by Singer. 


admissible than in other papers. The reporter of the 
Tonkiinstler-Versammlung has taken an important step 
towards agreement ; may he continue to work with us 
yet further ! 

The Altenburg has been closed and locked up since 
last Sunday — and in a few hours I am leaving Weymar 
for a long time. In the first place I shall spend some 
weeks with my patron, Prince Hohenzollern (who is 
musically very well disposed !), at Lowenberg. I intend 
to take up again there and quietly to carry on my 
work which has been too long interrupted. My 
promised contributions to Herr Stark's * Pianoforte 
School must also soon be taken in hand. Meanwhile 
remember me most kindly to Herr Lebert, 1 and assure 
him that I am most anxious to discharge the task 
allotted to me in a satisfactory manner. 

Pohl has promised me that he will soon send you the 
Prometheus and Faust notices that you want. For the 
rest you don't require any further explanation to enable 
you satisfactorily to instruct the public in these things. 

As I am pressed for time I must only give you for 
to-day once more my best thanks, and remain 
Yours in all friendship, 
August 17th, 1861. F. Liszt. 

My best greetings to your wife. 

259. To the Music Publisher, C. F. Kahnt. 

Don't be alarmed, dear sir ! Once more a 
manuscript of mine is coming to you. 

1 Professors at the Stuttgart Conservatorium. For the great 
Pianoforte School edited by Lebert and Stark, Liszt wrote the 
concert-studies " Waldcsrauschen " and " Gnomenreigen." 

TO C. F. KAHNT. 477 

" Ich glaube, die Wellen verschlingen, 
Am Ende Schiffer und . . . Kahnt ! " ' 

The pianoforte transcription of the " Loreley " has cost 
me more trouble than I expected. But I hope there- 
fore that it has not succeeded badly. Let a clean and 
correct copy be made of it by a reliable musician 
(Corno * perhaps ?) before you give the little piece into 
the engraver's hands. N.B.— The words are to be 
engraved with it, as in the Vienna edition of my 
transcription of the Schubert Songs. 

As regards the publishing of the scores of my three 
songs — " Loreley," "Mignon," and the " Zigeuner "— 
I leave them entirely to your pleasure or the reverse, 
as also the size of the edition (whether larger or smaller 
— but in any case, not quite full size). . — . 

I shall be staying at Lowenberg up to the 8th 

I beg that you will send the final proof of " Loreley " 
to Herr von Biilow — and also the second edition of 
" Mignon " in £ time, which is to be engraved from the 
score left behind by Brendel— for voice and pianoforte 
accompaniment (without instrumentation) in the first 
place — as you were kind enough to promise me. 
With best greetings, your obliged 
Lowenberg, August 2jth, 1S61. F. LlSZT. 

* A quotation from Heine's poem "Die Loreley," set to music by Liszt. 
" I fear me the waters engulfing 

Are drawing the boatman beneath, — 
'Tis Loreley, with voice enchanting, 
Who lures him on to death ! " 

Liszt makes a play on the words Kahn (a boat) and Kahnt (the 

' August Horn in Leipzig, whom Liszt held up as being " very 
exact and reliable." 


260. To Dr. Franz Brendel. 

Dear Friend, 

A musical scribble that I had promised, and 
which I wished to finish here, and various little excur- 
sions in the neighbourhood, have prevented me from 
answering your letter sooner. 

The Prince 1 continues to show me the same amiable 
friendship as ever, so that it is hard to me to leave 
Lowenberg. Seifriz will write you word a couple 
of weeks beforehand to which concert your coming 
here would be most advantageous. The concert season 
does not begin till November, and, with the exception 
of the winter months, when the musical performances 
take place, a great proportion of the members of the 
orchestra is absent. His Highness adheres always 
firmly and faithfully to the endeavours of the " New 
German School," and is desirous of supporting it still 
further. On this account I think it would be desirable 
to elect Seifriz as a member of the Committee of the 
Allgemeine Deutsche Musikverein. I also vote especially 
for Stein (of Sondershausen), Eduard Liszt, Herbeck, 
Ambros, David — without a word against the rest of the 
names which you have proposed. 

As regards the other points of your letter I write as 
follows : — 

1. I believe that N.'s reliability and extensive in- 
fluence in the affairs of the Mozart Society are a bit 
hypothetical. You find out more exactly what he is 
likely to accomplish. 

2. I will undertake with pleasure the examination of 

1 Of Hohcnzollern-Hechingen. 


the manuscripts and the decision as to what works 
shall be performed at the general assembly — but please 
do not give me the title of President, but simply the 
name of Reporter or Head of the musical section. 

3. I entirely agree with the intention of distributing 
Pohl's 1 pamphlet gratis to the members of the Society. 
Of course the two speeches by yourself and Draseke 
must be included in it. Should it be necessary, I will 
gladly contribute a few thalers towards the publication. 

4. According to my opinion the Society should not 
be placed under the protection of the Grand Duke 
" until everything is ready." According to what he 
has said to me there is no doubt about his acceptance 
of it, but still it is indispensable that you should write 
to H.R.H. about it. Pohl and Gille will be the best 
to help you in composing the letter to the Grand Duke, 
and perhaps they will sign their names to it also. 

Later on we shall have to discuss in what form and 
fashion other German Princes are to be invited to give 
their countenance to the Society — or not. 

5. Wagner's photograph has unfortunately been 
locked up in the Altenburg against my wish. I cannot 
therefore be of any help with it — and can only advise 
you to write to Wagner himself, in order to learn 
which of his likenesses would be the most suitable for 
publication in the Modenzeitung. 

. — .1 shall be in Berlin by the evening of the day 
after to-morrow, and shall probably stay there till the 
24th — 26th of this month. May I also beg you to 
remind Pohl of his promise to send me my arrange- 
ment of the Dance of Sylphs (from Berlioz' Faust)? 
1 On the Tonkunstler-Versammlung in Leipzig in 1859. 


I am now wanting this little piece, of which I did not 
keep any copy. It is the same with my arrangement 
of the Tannhduser Overture, which I left behind with 
Pflughaupt. Get Pohl to send me the Dance of Sylphs 
and the Tannhduser Overture as soon as possible to 
Billow's address in Berlin. I will then send him my 
thanks in writing, and will quietly wait for the cata- 
logue of music in his possession out of my library 
(which he wanted to send me some days after my 
departure !). 

How is it with regard to Damrosch's leadership of the 
orchestra at Weymar ? Pohl must tell me all about it. 

Has Bronsart's marriage taken place yet ? 

If it is not giving you too much trouble, I should be 
glad to receive the pamphlets, marked with red pencil, 
by Bronsart, Laurencin, Wagner, and Ambros, while I 
am in Berlin. The publication of Zellner's brochure on 
Faust shall meanwhile be left to the geniality and 
munificence of Schuberth. A propos of Lassen's songs 
(which Schuberth boasted that he should bring out so 
quickly that last evening he was with you !), the first 
book only — say three songs ! — and not the second, has 
come out, although Schuberth presented me with two 
books, relying on my being absent-minded and pre- 
occupied ! But he has such an extraordinary talent 
for tricks of that kind that it would be almost a pity if 
he did not exercise it here and there ! . — . 
With friendliest greetings to your wife, 

Most faithfully, 

F. Liszt. 

Lowenberg, September \6tli, 1861. 



Shortly after this Liszt departed from Lowenberg. 
He took the road which the Princess Wittgenstein 
had gone before him, and went, by way of Paris, 
to Rome. 

END of vol. 1. 

Printed by Hazell, Watson, & Viney, Ld., London and Aylesbury. 
VOL. I. 3 1 

Date Due 

APR 2 7 1 


"APR 9 - 8 I 


"MAY 9 '< 


WAY 9 a 197 

Library Bureau Cat. no. 1137 



3 5002 00165 9981 

Liszt. Franz 

Letters of Franz Liszt. 

ML 410 . L7 A31 1 

Liszt, Franz, 1811-1886 

Letters of Franz Liezt